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Angles: Women Working in Film and Video (Volume 2, Number 1, 1993) PDF

21 Pages·1993·7.3 MB·English
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angies WOMEN WORKING IN FILM & VIDEO VOLUME 2 NUMBER 1 1993 just another AN Sir URBAN OT) ROM tLe FILMMAKER LL~<L’ LESLIE HARRIS \ s é THERE ARE A LOT OF YOUNG SINGLE MOTHERS OUT THERE. THIS FILM SPEAKS TO THEM. IT’S IMPORTANT FOR YOUNG PEOPLE TO REALIZE Roe » (@ By-\ 8 oC] RO1O).-N.| D eB O0]) " Wabs-h2 4/ /-2 aa fes True Grit vi lasting image from The Empowerment Project’s documentary, “The Panama Deception,” is a shot of the director, Bar- bara Trent, confronting U.S. soldiers as they try to stop her from filming in a Panamanian refugee camp after the U.S. action there. In recording the devastating aftermath of the American invasion, Trent displays the kind of grit and courage it often requires to make a documentary. Watching the Academy Awards’ lame tribute to women, we could only hope to see such a powerful image of a woman at work. Instead we got “Thank heaven for little girls.” Trent showed the same courage on stage when she accepted the Oscar for Best Documentary, taking the opportunity to speak out against censorship in one of the most inspiring moments of the evening. It should be noted that “Panama Deception” is banned in Panama, and PBS’s “P.O.V.,” one of the few programs on a major network that shows inde- pendent work, did not include the documentary in its upcoming lineup. In the meantime the film is playing well in theatrical release and will be aired on TV networks in other countries. Other Academy Award nominees included Dorothy Fadiman for “When Abortion Was Illegal: Untold Stories,” a short documentary in which women talk about their illegal abortions, and Wendy L. Weinberg for “Beyond Imagining — Margaret Anderson & the Little Review,” a short documentary about the literary visionary who founded a magazine that had a profound influence on American literature, introducing such writers as Gertrude Stein, Emma Goldman and James Joyce. Angles congratulates these women of vision who are representative of the thousands of dedicated women working to create diverse voices and images. 2 @ ANGLES ee ee ee ee | e@THE NATIONAL WOMEN’S —Of the 1,159 people interviewed The following videotapes of past STUDIES ASSOCIATION conference on network news shows, 915 (79%) were WM&M conferences are available: will be in Washington, D.C., June 6-10. men, and 245 (21%) were women. “Media and the Family: Scapegoats & This year’s theme is “Reweaving These statistics were reported in the Realities”; “Sex, Race & Polarization”; Women’s Colors: Scholarship, Curricu- and “Sex, Lies & Politics.” The tapes rent WM&M Spring Newsletter. The organi- lum and Our Lives.” for $12 or can be purchased for $60. For zation was founded in 1987 as journalists Among the topics will be “Women became aware of the imbalance and dis- more information: Audio Visual Services, Shaping the National Agenda/Shaping tortion of the representation of men and Pennsylvania State University, 1127 Fox Hill Rd., University Park, PA 16803- the National Agenda for Women,” women in mass media, and of work-place 1824. 800/826-0132. “Breaking/Making Paradigms: Feminism discrimination. and Knowing,” “Women’s Lives, In April 1989, the organization be- @THE NATIONAL COUNCIL FOR Women’s Stories” and “Intellectual Foun- came a permanent institution monitoring RESEARCH ON WOMEN offers a num- dations of Women’s Studies: Beyond Po- ber of publications accessing women’s net- gender issues in film, print and broadcast litical Correctness.” media. Sponsored by Freedom Forum, works. Here are a few: Films and videos by women will be the organization documents the coverage “A Directory of Women’s Media, shown throughout the conference. of women and men in the media and pub- 16th Edition. Originally published by licizes its results. It is committed to a col- Women’s Institute for Freedom of the For more information: National Women’s Studies Association, University laborative rather than an adversarial Press. Includes descriptions of more than of Maryland, College Park, MD 20742- relationship with industry management 1,300 print/electronic media, publishers, 13255. and professionals. The organization spon- bookstores, libraries and other media re- sors conferences around the country. sources by, for and about women. Com- @WOMEN, MEN & MEDIA | piled by Dawn Henry. Edited by Susan A. It states in its newsletter: “The threat (WM&M) reviewed 4,000 articles taken Hallgarth (285 pages, $35). of ‘symbolic annihilation’ of women has from 10 major publications during July and August 1992 and concluded the become visible in our WM&M studies of “Opportunities for Research and media often perpetuates societal gender newspaper front pages and broadcast Study, 1993-94.” A descriptive listing of polarizations in the way it reports the news. The distortion or absence of the fellowships, affiliated scholar pro- news. Here are some examples: women affects their roles in society and grams, grants and internships sponsored how they are represented, hired and pro- by council member centers. Also includes —Descriptions of female candidates moted. ” sources for locating information about fi- for major political office most often nancial aid. A resource for graduate stu- A recent WM&M conference was started with descriptions of their clothes dents, academic advisors, women’s and hair styles or their parental status, “Cookies, Nannies & Nonsense: Cover- ing the New Women of Washington” in centers, research institutes and indepen- whereas descriptions of men started with dent researchers (26 pages, $10). their credentials. Washington, D.C. A free roundtable dis- cussion with Betty Friedan and Nancy “A Women’s Mailing List Direc- —There were almost twice as many Woodhull addressed questions such as: tory.” Describes lists maintained by U.S. articles on Hillary Clinton, who was not Has the new First Lady been demonized Women’s research centers and caucuses, running for any office, than there were on by the media? Is she measured against feminist periodicals, publishers, and book- all the precedent-setting female candi- politicians or past wives of presidents? stores, women’s organizations, programs, dates combined during the study period. What about the victims of Nanny-gate? centers and networks (160 pages, $15). —The media, by and large, ignored What can be done to undo the double “Sexual Harassment: Research Re- expert commentary from leading women, standard in coverage? sources.” A revised report on the Na- blacks, Latinos, Asian-Americans, and “Women and Power: New Images tional Council for Research on Women’s Native Americans. and Realities,” a Los Angeles conference, Sexual Harassment Information Project. Another study based on the review examined the coverage and portrayal of Research and resources available on sex- of 20 newspapers, 10 from major markets the new women in power. Among the ual harassment. Written by Deborah L. and 10 from smaller markets, and news panelists were Marlene Sanders, Betty Siegal. Edited by Susan A. Hallgarth and shows on three networks, during the Friedan, Linda Bloodworth-Thomason, Mary Ellen S. Capek (68 pages, $11). month of February 1992, found the fol- Marilyn Bergman, and Narda Zacchino. The Women’s Research Network lowing: WM&M is a project of the Univer- News is a quarterly newsletter that lists —References to women on the front sity of Southern California’s School of Opportunities for jobs, research, study pages of the 20 newspapers averaged Journalism and New York University’s and affiliation. It also includes news of in- 13%. Department of Journalism and Mass terest to women’s research, action, policy, —During the same period, female by- Communications. It co-sponsors pro- and funding communities. Debra Schultz, grams with Women in Film, Women in editor. Individual subscriptions, $35. lines in the 20 newspapers averaged 34% Cable and Women in Communications. and females appeared in front-page pho- For more information: The National tographs 32%. For more information or copies of Council for Research on Women, 530 WM2&M studies: Lisa Silver, Project Ad- Broadway at Spring Street, 10th Floor, —Out of a total of 768 stories re- ported on the three major networks in ministrator, WM&M, New York Univer- New York, NY 10012. 212/274-0730. sity, 10 Washington Place, Sth Floor, New Fax: 212/272-0821. February, only 109, or 14%, were re- York, NY 10003. 212/998-7974. 212/995- ported by females. 4148. VOLUME 2 NUMBER 1 @ 3 ieee eee eee ee ee ee eee eee eee eee ee ee ee Women filmmakers in Latin America A, article by Margarita the intention of of a Waltz,” ebb and tide of sociological de la Vega-Hurtado in The Re- preserving Co- (1987). These change, her work has a satirical view of Latin American Litera- lombian folklore films explore edge. ture and Arts (Fall, 1992) and tradition. the sexual fanta- “Disha,” her recent film is focused on women directors. “Los Santisimos sies and a a bleak story about the dehu- Vega-Hurtado noted the Hermanos/The young woman’s manizing effects of people Most Holy exploration of following are among the Latin moving from impoverished vil- Brothers” (1969) her own desire American women who have lages to large cities. achieved international recogni- and “El Hombre in a restrictive Vijaya Mehta combines tion in filmmaking: Argentin- de la Sal/Man of male-domi- Salt” (1969) are ca itn nated world. classical Indian traditions with ean Maria Luisa Bemberg Brechtian innovations. Her (“Camila,” “Miss Mary,” “T, her best films. Maria Louisa Bemberg Tizuka The Worst of All’), Samper SCthn0=> 2S22 e ee Vernonia narrative work, “Smriti Chitre,” brings to life the mem- Colombia’s Marta Rodriguez, graphic perspec- worked as an as- tive has been oirs of Laxmibai Tilak, combin- Brazil’s Suzanna Amaral sistant for Nel- continued by several women ing historical perspective, (“Hour of the Star’’) and son Pereira Dos Santos and Mexico’s Maria Novaro filmmakers in Colombia, in- Glauber Rocha before making personal history and social ob- cluding Gloria Triana, who servation. The film reveals the (“Danzon”). her film “Gaijin, Caminhos de produced the series remarkable spirit and inner life Liberiade/The Roads to The article also noted the “Yurupari” for Colombian of a 19th-century orthodox Freedom” (1980), which ex- following Latin American television. Brahmin woman from the plored her origins as a Japan- filmmakers: time she is a child bride During the 60s, the New ese-Brazilian and “Parahyba, Matilde Landeta strug- Latin American Cinema Mulher Maco, through her later life, when gled during the ’40s and ’50s to she becomes a Christian. emerged when filmmakers Parahyba/Macho Woman” make her films—innovative ex- began to use a different lan- (1993), which celebrates Brazil- In her other films, Mehta plorations of gender, class and guage to pursue social/political ian popular culture and captures the essence of the race issues. Landeta’s “La issues and united around the women’s efforts to map out Parsi community with sharp Negra Angustias” (1949) is the ideal of Pan-American solidar- their own liberation through humor. story of a female colonel in the ity. Marta Rodriguez, a Co- the story of a celebrated poet Prema Karanth’s Mexican revolution. Two other lombian sociologist, who was and journalist. “Patriamada/ “Phaniyamma’” explores the films by Landeta, “Lola trained in cinema verite, was Beloved Motherland” (1985), trauma of a child widow in a re- Casanova” (1948) and the only woman among this is the personal story of a mote Karnatak village. “Trotacalles/Streetwalker” group of directors. She made woman searching for political (1951), feature strong hero- Aparna Sen was discov- “Chiracles/Bricklayers” and sexual liberation. ines. One is a mestiza who pro- (1968), which dealt with real- ered by Satyajit Ray. Her first motes an Indian lifestyle and The Review of Latin film “36 Chowringhee Lane” is ism of daily life, and then values, and the other a prosti- American Literature and Arts about a lonely spinster, an el- “Amor, Mujeres Y Flo- tute. Landeta tells the stories is a quarterly publication derly Anglo-Indian teacher, res/Love, Women and Flow- of women as agents of change. ers,” (1989) and “Nacer de ($16/year, $9/issue, $28 out- which explores class structure She is still an active screen- side the U.S.). For more infor- in India. In her film,“Parma,” Nuevo/To Be Born Again” writer in Mexico. (1989) which dealt with con- mation: PO Box 3000, Sen shows the upper class Denville, NJ 07834-9481. Bengali society as observed by In Brazil, during the same flicts in women’s lives. the ironic insider. period, Gilda de Abreu di- From Cuba, Sara Gomez From India rected and produced “O Kjalpana Lajmi, with her combined documentary and Ebrio/The Drunkard” (1946) “Indian Cinema 1992,” films “Ek Pal” and “Rudali” fiction in “De Cierta/One Way and “Coracao de Madre/A or Another” (1975), which ex- published by the Directorate brings a strong operatic style Mother’s Heart” (1951). Both of Film Festivals in India noted to her work. amined the Cuban Revolution were commercial successes. through the love story between the following women in an arti- Two actresses turned di- cle by Maithili Rao, “Women Beatriz Guido of Argen- a young man from the slums rectors are Bijoya Jena and Filmmakers.” tina collaborated with her hus- and the teacher who comes to Gopi Desai. Jena’s “Tara” re- band Leopoldo Torre-Nilson educate the people in his com- In the 1980s, when the flects the tragedy of a village on screenplays for successful munity. Gomez died while the women filmmakers began to priest’s daughter and her grad- art films, centering on the sex- film was in post-production. make their mark, Sai ual disillusionment when she ual repression and decadence Paranjpye’s film, “Sparsh,” marries a stranger who im- In Brazil, Ana Carolina di- of the bourgeoisie. From Ven- presented the problems of the presses her with his wealth. rected her first feature film ezuela, Margo Benacerraf visually handicapped within Desai’s unusual children’s film, “Mar De Rosas/Sea of made two innovative documen- the context of a tender love “Mujhse Dosti Karoge” por- Roses”) (1977), following with taries, “Reveron” (1952) and story. Paranjpye is in a class of trays the fantasy world of a two more films in 10 years, “Aray” (1958). her own. Though her films por- young boy, weaving in folk “Das Tripas Coracao/With the tray the small personal trage- tales of the region. Gabriela Samper started Heart in the Hands” (1982) dies of people caught in the making films in Colombia with and “Sonho de Valsa/Dream —Harriet Robbins ANGLES Pee ee ee eee eee senor eee eee e seen eee She Said “We wanted to do an “Are we, and will we exciting action-genre film be capable of imagining with a woman, but not women to be something one in which a woman be- J besides imbeciles, when haves like a man. | can't TV represents us with no bear the machismo of gra- voice, no opinion, and pa- tuitous violence. For me, rades us as Slaves in it’s definitely about creat- Maria Novaro front of our oppressors? ing positive, powerful role Stacy Cochran “| thought a lot about Can we imagine change models for women. I’m “I’m very happy to films I’ve seen that have when the media controls fed up with seeing have made a movie about to do with motherhood. | our imaginations, when women as victims and ap- have never really felt satis- our hopes and dreams violence, guns, security pendages.”’ and paranoia that doesn't fied with them or felt | become limited by their restrictions?” could learn from them.” resort to violence.” —Amanda Donohoe, executive producer and —Stacy Cochran, —Maria Novaro, —Sadie Benning, star of “Nothing Per- writer/director, “My New director, “Danzon,” Mil- video artist, Visions. sonal,” Entertainment waukee Sentinel. Gun,” 1992 Toronto Film Weekly. Festival, Angles interview. New magazine focuses on Asian films 22 are more films ents news and views from and Sumitra Peries have con- made and watched in Asia many Asian countries. tributed. than any other part of the The scope of the publica- Another column, New world. But in North America, tion is far-reaching. A recent Voice, introduces new little is know about Asian issue included filmmakers filmmakers such as filmmakers. from Taiwan, China, Turkey, Yamanako Sadao, Sun Yu Cinemaya, a magazine de- Iran, the Philippines, Malay- and Sa’ied Ebrahimifar. The voted to Asian cinema, strives sia, Hong Kong, India, Sri magazine also features pro- to change that. It will be dis- Lanka, Japan, Russia and the files of actors, editors, cinema- Aruna Vasudev tributed for the first time in Republic of Kirghizia. Among tographers and art directors; the U.S. and Canada in May the features are a column festival reports; movie and The magazine also ex- and June. from Turkish director Omar book reviews; and information plores the relationship of Kavur, a profile of Malaysian about conferences and semi- The 64-page, illustrated Asian film to African and actress Nora Aunor and an nars. quarterly features articles cov- Latin American films, calling analysis of Taiwanese films. ering filmmakers from many Special issues are devoted attention to the emergence of Asian cultures. It raises ques- “This magazine is a labor to specific themes exploring Third World Cinema. tions such as: How is cinema of love,” said editor Aruna how different countries cope Cinemaya is more of a affected by Asian countries in Vasudev, who had to over- with censorship, politics, fam- journal with sociological and turmoil? Is there an Asian aes- come international hurdles to ily life, romance, love and sex- academic appeal than a maga- thetic? What does Asian film get the publication off the uality. Other themes include: zine, said Vasudev. bring to cinema that isn’t re- ground in 1988. How do non-Asian flected in Western films? How filmmakers understand and —Vinanti Sarkar In each issue a director do Asian images and voices define Asian realities and fic- Subscriptions to Cinemaya writes his/her views on cin- change the perceptions of tions? What is the fate of expa- are $30/individuals, $50/institu- ema, its theory and practices. viewers? triate Asian filmmakers? How tions, $25/students. For more Nagisa Oshima, Tian information: V. Sarkar, Cinemaya do expatriates perceive them- Cinemaya is different Zhuangzhuang, Artavzd Magazine, 425 E. 51st St., PO Box selves, the country they left be- from other publications in Peleshyan, Aparna Sen, Euth- 7E, New York, NY 10022. 212/759- that it breaks through interna- ana Mukdasnit, Allen Fong hind and the adopted country? 4568. Fax: 212/867-7726 or tional boundaries and pres- 212/838-2927. ' VOLUME 2 NUMBER 1 Cee enone renee eee eeeee rece eeeeeeeee eee eee ee “Just Another Girl on the IRT”’ Leslie Harris’ gritty portrayal ofa BY E-1.F-R-i-E 0D A M. ABBE “In your face.” It’s a rare screen view of urban life from the per- spective of a young black woman. Leslie Harris laughed quietly when she heard this description of her film “Just Another Girl on the IRT.” “We aren't seeing a lot of realistic portraits of black women on film. You see films from the young “Yeah, it is,” she said, “but with a purpose” —to black males’ perspective, but in this call attention to what it’s like to movie, I’m asking, ‘What about the be a young, black woman liv- girlfriend?’ Usually you just see her ing in the projects in Brooklyn on the arm of the guy. and struggling to get ahead. “I’m tackling some issues that Emotionally raw, street show a different sensibility. This is smart and full of attitude, the not about a female character being movie has been both hailed validated by a male character,” said and panned by critics. Harris. Some call it fresh and brac- Harris has some things in com- ing, others say it’s just another mon with her heroine. Bright, ambi- teenage pregnancy story. tious and gutsy, she grew up in the However you look at it, Harris’ inner city, albeit Cleveland not debut film is getting a lot of at- Brooklyn, with working parents. tention. The writer/director makes a At the Toronto Interna- point of showing Chantel’s parents, tional Film Festival, Harris and Director Leslie Harris who are caring, but struggling with her co-producer Erwin Wilson keeping track of their kids and their had a full schedule of inter- jobs. views with reporters who were eager to speak with the young filmmaker, and at Sund- In so many stories about African-American kids, ance, Robert Redford stopped Harris on the street to the parents aren’t there, said Harris. “| wanted to show compliment her award-winning film. another side. Young people do have working parents who are trying to make it in society. | think everybody It wasn’t long ago that Harris and Wilson were wants the best for their kids. It’s just that sometimes struggling to get enough money to finish their project. certain circumstances happen, and they don’t have In Toronto they seemed a little surprised to find them- enough money. selves on so many media dance cards. During our in- terview, they good-naturedly fielded questions, losing “Both my parents were very supportive,” said the track of time as they talked about their experiences filmmaker, who remembers watching Bette Davis in making the film. late-night movies with her mother and later going to a Cleveland art house to see the films of Kurosawa and “Just Another Girl on the IRT” is an urban tale of Truffaut. It was her mother who bought Harris a little an African-American teenager— Chantel (Ariyan John- movie projector, planting the idea that she could make son) — bright, sassy, loud, unruly, contradictory and ex- movies long before she studied film at Denison Univer- asperating with no apologies. She’s headed for sity. college, but then she gets pregnant and has to grow up fast, making decisions she isn’t prepared for. It took Harris, who quit her advertising job to make movies, five years to complete “Just Another Girl on 6 @ ANGLES young woman the I.R.T.” As part of her research, she interviewed advi- sors and teenagers from the Brooklyn Teen Pregnancy Network. Once she had a script, she was able to get funding from the National Endowment for the Arts, the New York State Council on the Arts, the Jerome Foundation and the American Film Institute. But like so many inde- pendent projects, this one ran out of money before it was completed. “We used every resource we could to at least get to the point of getting the film in the can. After that we needed to raise money to get the film out of the lab.” Most backers weren't interested in a movie about a pregnant black teenager. “Some people said, ‘Chantel lives in the inner city, she should be on drugs. Where's the violence? Where are the drug dealers?’ | almost didn’t get funding because of that.” Thanks to an article in The Village Voice by Terry McMillan, author of “Waiting to Exhale,” the film’s plight came to the attention of Miramax, who asked to see it. Ariyan Johnson in “Just Another Girl on the IRT” Documentary filmmaker Michael Moore gave Harris enough money to put together a 35-minute rough cut to show the distributor, known for taking on risky projects. “Chantel has faults. She’s not idealized. Her inde- Miramax liked it and funded the post-production. cisiveness, her denial is very typical of human beings Harris applaudes her backers for taking a chance when they’re faced with a problem. Especially at her on a film that doesn’t fit a specific mold. age, when she doesn't have all the thinking processes “| think it’s important we have films from different an adult has, but she’s facing life as an adult. Getting perspectives, especially in the African-American com- pregnant means, now you’re an adult and you have munity. We’re used to seeing young black kids depicted to make some serious decisions. as violent, or if not violent, rapping. There are all kinds “I’m not trying to give any type of solution with of stories. I’m trying to dispel the stereotypes. This this film, I’m just putting it out there. It’s examining the movie asks the audience to be more open-minded. ambivalence of this young woman.” “There are a lot of young single mothers out there and this film speaks to them. It’s important that they can go on with their lives. It’s important for young people to realize it’s not all doom and gloom.” The filmmaker hopes to reach young audiences with a depiction of teenagers they can relate to. VOLUME 2 NUMBER1 @ 7 eee ee Neon, technology and McDonald's Clara Law: Unsettled in Hong Kong a Y $US AN N-E C5. £ Clara Law was inter- Lee: Did your family’s viewed at the New York immigration during your Film Festival, where her childhood reinforce the film, “Autumn Moon,” sense of dislocation? premiered. Perceptively Law: Yes, but I’m not wry, “Autumn Moon,” the only one who is under- the recipient of the going this. Many people Golden Lion Award at have parents who were Switzerland’s Lacarno born in China and came to Festival, revolves around Hong Kong during the Civil Wai, a 15-year-old Chi- War or after the Commu- nese girl, and Tokio, a nists took over. They in- young, slightly bored A Japanese tourist and a Chinese teenager form an un- tended to go back, but videocam-toting Japan- likely friendship in Clara Law’s “Autumn Moon.” finally realized they ese tourist. Wai remains couldn't. My parents later in Hong Kong in the moved to Australia. They’re company of her grand- in a country where they mother while her parents put the final touches on their don’t know the language, and they have to start from new home in Canada. Tokio becomes a big brother, scratch. Moving from one place to another, not having buddy and confidant to Wai as friendship evolves be- a home, not knowing where my home is, affected me tween this unlikely duo. very much. The Macao-born, Hong Kong-raised, English-edu- Lee: Your journey to England must have been piv- cated Law has directed five films, including ‘‘The Other otal. Half and The Other Half,” “‘The Reincarnation of Law: When | was there in 1982, | realized that | Golden Lotus” and ‘Farewell, China.” Internationally might not have a home to go back to after graduation. acclaimed, Law remains virtually unknown in the U.S. At Lincoln Center, we spoke about life in Hong Kong, began to want to return to my origins, to my Chinese culture and heritage. | realize that | am part of history. nostalgia for the past in a technological age, and her This is very important to me and became important in journey to discover her Chinese heritage, themes fre- the film, living in this electronic world and yet wanting quently alluded to in “Autumn Moon.” to find your heritage. Susanne Lee: One of the themes of “Autumn Lee: Technology universalized us. By owning a Moon” and “The Other Half” is immigration. VCR and a video camera, anywhere in the world, you Clara Law: The future of Hong Kong bothers all of share a common experience. us. | wanted to expand from talking about Hong Kong, ‘Law: The kids growing up in the electronic world, to talking about Hong Kong as a city connected to who want to be cool, who think “Il” is most important, other cities in the world. The film has been a trip back are the generation that has lost faith in everything; they to my roots. My background is a bit similar to Wai’s. My family was very Chinese— our furniture, the paintings in are very rich materially and are very poor in spirit. our home. My grandfather taught me calligraphy, and Lee: You contrast the grandmother who cooks festivities such as Chinese New Year and Mid-Autumn Festival were very important to us. |w as 10 when we moved from Macao to Hong Kong, because of the Cul- Continued on page 18 tural Revolution riots, but they spread to Hong Kong. 8 @ ANGLES Pee eee eee eee eee eee eee ee eee eee Del Sol Art Center in Washing- sionary who founded the jour- about the reproductive rights people ton D.C., and at the Artists’ nal Little Review in 1914. An- of women before Roe vs. Cooperative Gallery, Oporto, derson introduced such Wade. Portugal, in spring and fall. writers as Gertrude Stein, “Dreams, Memories, Sadie Benning re- Another video, “Dig,” one Emma Goldman, Djuna Amnesia and Deja Vu,” pro- ceived the Los Angeles Film part of a longer video project Barnes and Ezra Pound, and duction and post-production Critics Association Award for about archaeology and lan- went to trial for publishing ex- by O.Funmilayo Makarah, her independent/experimen- guage, was installed at Iso- cerpts from James Joyce’s Los Angeles, an experimen- tal work “It Wasn't Love.” spin Two South Gallery in “Ulysses.” in her later years, tal video that explores media Baltimore in Feb. In addition, she lived a self-imposed exile omissions of realistic images Cecelia Condit’s new Kernan’s short experimental in France until her death in of women of color. video “Surburbs of Eden,” narrative video, “Defenses,” 1973. taiboonust atnhde rsetsrpaoinnseidb ileixtpieecst ap-u t thiaosn boen en“ Ealti cCeanrspeedt ,f”o r ae xvhiidbeio- Paula Wagner, Dawn product“iHoanb lob-y| MSupjeearke,s” post- on acontemporary marriage, art television show produced Steel, Penny Marshall, Mar- Latinas Unidas (Latino wthaes Msucsreeeunme d oft hMiso dseprrnin gA ratt by SBS-TV, Australia. tahnad LMuattrrtehlla, CAnojoelliidcgae Hhuasvteo n Wthoe mceonre Uvniidteeod )c,o mCphoincaegnot, of and the Poet's House, New Meg Knowles, Cyd been named members of the a comprehensive educa- York, as part of a video po- Cox, Lisa Laske, Maria Dean’s Advisory Board at tional and outreach program etry program, “Between Venuto and Garland UCLA's School of Theater, on domestic violence in the Word and Image.” The video Godinho have completed Film and Television. Among Latino community. their documentary, “P4W: No the co-chairs of the board are will also have a solo exhibi- Healing Here,” which con- Debbie Allen and Sherry Vanessa M. Myers, tion at Carnegie Museum of Chicago, workshops in pro- sists of interviews with former Lansing. Modern Art, Pittsburgh. duction and post-production, dlSpeiatdnnegatpel h ifasaotnrnDs iid Sre eao Actns tAytsolh irle saP tiiManAcan mtrtuwe trerheVrisaiec c aen C oPore-s i- wwmiiiisnnouthgmmhme aeidF tnn ae .nsshC cee acyrrunK, re”ansic odotolwaayuol’b neosptvus riit idno segnaoow lln,syo i o mn f“mjoefPaurinaxs nsti- si -c- e s qgiNFrnureeaiew nel tdSirsaYni aoecJlwr hfeek.Wirr eoeoClo middte ays wa oanFFnrdiod, luem nS/dduCV a aitttdioeho oeJn ra -c - ywapnisaoot rsuhrwtn ae-gtlGpil orv daeoad. dsu”u vl cittthdsiee ootn po r ion“odsgfpue icatr t isirnhoigogn rh tt and Film Marketing Association who dress and act as men. “Harmony and Dis- forum on ‘Minority Produc- The New York State cord,” video component by ers/Directors in Hollywood: Barbara Kopple’s Council on the Arts an- Susan L. Oslin, Chicago, a Are All Filmmakers Created 1990 Oscar-winning docu- nounced the following pro- multi-media performance cre- Equal?" mentary, “American Dream,” duction grant recipients: ated by a collaboration of art- “Dropping the Bomb wthaes CsIhNoEw nS hroewcceantsley daunrdi ng SPteogegsys eArh wfoers h‘B eatnwde eMna rSgiise- ists. On My Street," produced by Awards Screening, followed ters,” about drug abuse and Mary Patten and Kathleen Brown Corbin and by a reception for Kopple. family relationships, and Jeanne Kracher, Chicago, written by American Film Insti- Mystery novelist Sara Stephania Biack for “The production and post-produc- tute alumnus Maryanne Paretsky will write the debut Way We Look to a Song,” tion of an experimental video Melloan, received the first series for ‘Sisters In Crime,” which looks at pop music exploring the artist's relation- $10,000 Colin Higgins Award a mystery miniseries pro- and communication. ships with a number of politi- established by the American cal prisoners. Film Institute (AFI) for new duced by Mery! Marshall The following films projects. The film will tell the and Mae Woods for Lifetime were among those nomi- “Sticks and Bones Rat- story of a 10-year old girl TV. nated for the Independent tle in My Belly" (La Somnambula), post-produc- whose world is pulled apart Jill Petzali won a Feature Project/West 1993 tion by Abigail Simon, Chi- by divorce, McCarthyism and Bronze Apple for her video, Spirit Awards: Best Feature: the threat of nuclear war. It “Once Upon a Book” at the “Gas Food and Lodging,” di- cago, a video which will be directed by Nora National Educational Film rected by Alison Anders; investigates the processes Maccoby. and Video Festival in Oak- “Mississippi Masala,” di- through which images take land. rected by Mira Nair. Best root between memory and Yvette Nieves-Cruz New Feature: My New Gun,” consciousness. has been named executive di- B. Ruby Rich, film directed by Stacy Cochran. “Resistir para Vivir,” rector of Film in the Cities. writer and educator, moder- Best director and best screen- post-production by Women She will oversee all program- ated a panel on “The Wave play: Anders. of Guatemala, Chicago, a ming, operational and admin- of Neo-violence” at the Sund- video about the communities istrative areas of one of the ance Film Festival in January. The Center for New of Population Resistance nation’s oldest and largest Rea Tajiri received a Television (CNTV) in Chi- (CPR) of over 10,000 indige- media arts centers. Originally Distinquished Documentary cago announced the foliow- nous people in Guatemala from New York, Nieves-Cruz Achievement Award from the ing 1992 award recipients: who have fled the Guatema- comes to FITC from San Anto- International Documentary As- lan army for the last 10 years. nio, Texas, where she was sociation for “History and “The Year of Change,” the director of the San Anto- Memory: For Akiki and production and post-produc- Loretta Smith, Chi- nio CineFestival, the longest Takashige." tion by Cathy Dancy and cago, to support distribution running international film and Barbara J. Wells, Chicago, a and fundraising for video festival of work by and Wendy Weinberg’s video docudrama examining “H.O.M.E.: There’s No Place first film, “Beyond imagining about Latinos. the issues and problems af- Like It”; to help raise produc- Margaret Anderson and the fecting the African-American tion funds for “Making His- Margot Starr Little Review,” was nomi- lesbian community. tory: Carol Moseley Braun’s Kernan’s new video, “Be- nated for an Academy Award Campaign for the Senate”; tween Lives,” a funny/scary in the documentary short sub- “The Janes,” produc- and to raise completion true story told by artist Ann ject category. “Beyond tion and post-production by funds for “A Good American” Fessler, will be featured ina Imagining” is a profile of An- Kate Kirtz and Nell Lundy, and “Caravan of Hope.” video installation at Fondo derson, the bold literary vi- Chicago, a documentary VOLUME 2 NUMBER 1 For more information: Elien Piskorski re- Rose Bond, media artist, Greta Snider, San The Center for New Televi- ceived the Super 8 sound Portland, Ore. Francisco, $4,000, to support sion, 1440 N. Dayton St., Chi- Outstanding Super 8 Award an experimental film which The awards panel in- cago, IL 60622. for “The Misogynist Fishmon- cluded Bushra Azzouz, compares historical “anar- ger,” a gritty account by a chic” communities with those The Illinois Arts media artist, Portland, Ore.; woman filmmaker living in existing in contemporary cul- Council (IAC) awarded the Jytta Jensen, media curator the body of a misogynist ture. following non-matching at the Museum of Modern whose reveling reveais his media arts grants: Art, New York; and Brady Linda Tadic, Oakland, own faulty philosophy. Lewis, media artist/adminis- Calif., $7,000, to support an Zeinabu Irene Davis, Chicago, $5,000; Alexandra Other Judges’ Special trator at Pittsburgh experimental film exploring Halkin, Chicago, $5,000; and Merit Awards went to Marjo- Filmmakers. gender bias in the legal and Suzanne M. Silver, Chicago, rie Keller for “Herein,” which The following were social systems, based on the $500. documents the movement among the recipients of the hanging of Susanna Cox for from political activism to 1992 Fellowships: infanticide in 1809, and the For more information: filmmaking, and Charlene Kutztown, Pennsylvania Folk Sandra Kinder, 312/814-6755, Gilbert for “ina Mae Best,” a Ellen Bruno, San Fran- Festival’s annual re-enact- 312/814-4831 (TT-TDD). portrait a union-organizing 50- cisco, $7,000, to support a ment of her execution. cess TeThlee coMmimlwuanuikceaet ioAnc-s tyielae rw-oolrdk erA frfircoamn -NAomretrhi can tex- dinogc utmhee netxaarmyp lvei deoof tehxe amTii-n - ngrove, NiCcaloilfe., T$o5s,t0e0v0i,n ,t o Pseunp-- Authority (MATA) Seventh Carolina. Patricia Valladares betan nuns who adhere port an experimental Annual Philo Videotape was one of three teenagers without compromise to the animated film inspired by Awards for Best Community who won The Outstanding principles of nonviolent Celtic archaeological findings Access Television Program- Public Access Award for change. and folk narratives. ming. “Twins”. Tina Difeliciantonio, “Roots and Visions,” Poetry Film and San Francisco, $2,000, to sup- BerkeleyM,i c$h2e,l0e0 0,Z atcoc hseuop,p ort Vprraondau ce(dfi rsbt yp rSoigsrtaemr );J ea“nH oMw. Vneirdse:o “FReusntiavwaaly ,a”w abryd Hweilny-n e wepaohrrolt y aw Hedoroel clyuewmxoecolndut daerfdiy l mofmri altmkr eivorinsa l - aofn peoxepteirc imweornktsa.l video series to Draw,” produced by Linda Holmes, Denver, which re- Scrimenti (educational/in- creates the terrifying world of ized because of gender. For more information: structional); “African Ballet,” a runaway and the multiple Barbara Hammer, Northwest Film Center, 1219 produced by Marilyn Lock problems that beset her; San Francisco, $7,000, to sup- SW Park Ave., Portland, OR (ethnic expression-ad- “Prufrock,” by lara Lee, New port an experimental film 97205-2486. 503/221-1156. vanced); “Black Fairy,” pro- York City, a black and white comprised from the duced by Dorothy Dean film adaptation of T.S. Eliot’s filmmaker’s personal archive (ethnic expression-begin- classic poem to a contempo- collected over the past 25 ning); “James Auer and rary inner city; “To My years. Friends,” produced by Chris- Sister’s Husband," by Miki Lynn Hershman, San tina Zawadiwski and Mark Seifert, San Diego, an emo- screenings Francisco, $5,000, to support Mars (visual arts); “Faces of tionally charged look into the an experimental/narrative Choice,” produced by Linda long lasting pains and dam- video about domestic vio- Scrimenti (documentary pub- age from child abuse and lic awareness); and “Subjects sexual molestation. For more lence. The following list in- of Survival,” produced by information: National Poetry Susan Marenco, San cludes openings, upcoming Erin O’Meara, Lenore Rin- Association, Fort Mason Cen- Francisco, $5,000, to support and recent screenings, and der, Rob Danielson (commu- ter, Landmark Bidg. D, San a documentary video examin- a sampling from festivals. nity interest series). Francisco, CA 94123. ing the life and work of Kate Descriptions are derived 415/776-6602. Borstein, a San Francisco from catalogs and promo- For more information: playwright. tional materials. Milwaukee Access Telecom- Sherrill C. Corwin munications Authority, 1610 scholarship winners: Nora Anita Marto, West Hol- Ayoka Chenzira’s N. Second St., Milwaukee, WI Maccoby, Ashley Amulis lywood, $7,000, to support an “Hair Piece: A Film For The 53212. 414/225-3560. Scholarship, first year direc- experimental video describ- Nappy-Headed People,” Kath- tor; Elaine Haygood, ing a women’s relationship to erine Gilday’s “The Famine New England Film & Cort/Swedlin Award, first year fear. Within,” and Jan Krawitz’s Vneirdse:o Festival award win- sOcdreezeynwnrsiktaer,; HAonldlryewao od For- BerkeleyT,r in$h7 ,0T0.0 ,M intoh -shuap,p ort s“Mcirrereorn,e d Mirinr orF,e”b rwuearrye, at “Dangerous When eign Press Scholarship, sec- an experimental film set in Mount Mary College in Mil- Wet,” by Diane Bonder, re- ond year director; Felicity the context of contemporary waukee, during a program ex- ceived the first Imagery Cockram, Paramount Foun- American life, inspired by a ploring relationships between Award. The work recounts a dation Nominee, second year Vietnamese poem about a women’s self-image and the young woman’s first orgasm producer; Nathalie Cohen, woman whose love life standards of feminine beauty against images of glamorous Mary Pickford Foundation serves as a metaphor for presented in advertising, mov- Hollywood water ballet and Scholarship, first year produc- Vietnam’s destiny and for the ies and television. Bonder’s Super 8 footage set tion design; Elaine betrayal of principle under du- Elfrieda Abbe led a to 60s music. Bonder’s Haygood, Mary Pickford ress. panel discussion after the “Stick Figures” won the Foundation Scholarship, first screening. Panelists were: Re- Judges Special Merit Award. year screenwriter; and Helen Lynne Sachs, San becca Bardwell, associate It relays an attempted gay- Lowe, Mary Pickford Founda- Francisco, $2,000, to support professor and director of the bashing incident and focuses tion Scholarship, first year ed- an experimental film using women’s studies program at on homophobia. itor. four stories to reflect how Marquette University; Evelyn people can find meaning in “Castro Cowboy” by Western States Re- some of the most painful as- Patricia Terry, artist and cura- Nancy Kate also won a gional Media Arts Fellow- pects of their lives. tor; and Joanne Poehiman, Judges Special Merit Award. ships were awarded to 22 head of the behavioral sci- It’s a sassy, funny and endur- films and videomakers. Lena Sharpe, Seattle, ence department at Mount ing portrait of Christian Among those on the pre- Wash., $2,000, to support an Mary. Haren, a “Marlboro Man,” screening panel were Karen experimental/documentary Aspring program spon- who shares his feelings Holmes, media artist/profes- film on the old growth forest sored by the Brooklyn Mu- about living with AIDS. sor-Cinema Dept., San Fran- ecosystem of the Pacific seum Film Series and Third Northwest. cisco State University; and World Newsreel featured “Afri- can-American Women Behind 10 @ ANGLES

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