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

21 Pages·1993·7.3 MB·English

by  Angles: Women Working in Film and Video

angies
WOMEN WORKING IN FILM & VIDEO
VOLUME 2 NUMBER 1 1993
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LESLIE
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THERE ARE A LOT OF YOUNG SINGLE MOTHERS OUT THERE. THIS FILM
SPEAKS TO THEM. IT’S IMPORTANT FOR YOUNG PEOPLE TO REALIZE
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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
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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: [phone].
February, only 109, or 14%, were re-
York, NY 10003. 212/998-7974. 212/995-
ported by females.
4148.
VOLUME 2 NUMBER 1 @ 3
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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
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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: [phone] or
tional boundaries and pres- 212/838-2927.
' VOLUME 2 NUMBER 1
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“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
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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