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Society
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| Short Videos by SPE Mid-Atlantic Video Artists SPE Mid-Atlantic Video artists will be present to introduce their work. |
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| Chickalaleeoh | Directed by Colette Copeland | 2006, Digital Video, 5 minutes |
| The video critically explores society's emphasis on marriage as the pinnacle of a girl's success. Music composed by William Harper. Vocals by Rachel Slusarczyk. | ||
Worm Belly |
Directed by Colette Copeland | 2002, Digital Video, 3.5 minutes |
| The video is based on a vivid story I was told in childhood, which has haunted me for years. Although it references a specific narrative, the work addresses larger cultural issues such as the manipulation of the media through advertising and fashion and its manifestation into society’s values. This visceral memory has remained embedded in my conscious, as a testimony to the extremes one will endure for the sake of beauty. | ||
| Das Herzblut (Heart's Blood): A Factory Lullaby | Directed by Anita Allyn | 2004, Digital Video, 2 minutes |
| My mother's favorite German song she learned as a factory worker is reinterpreted as a lullaby of desire, loss, and regeneration. | ||
| Where’s My Mom? | Directed by Stafford Smith | 2006, Digital Video, 5 minutes |
| Where’s My Mom? Is the first of a four-part film about a doll’s search for her missing mother. Ambiguity leads to fear, the lack of resolution leads to disturbance. The mood and narrative are suggested through music, cuts and camera movement. The viewer’s learned experience with cinema is taken advantage of as elements such as dialogue, facial expressions, gestures are thrown out in an attempt to see how minimalist a film can go and still be understandable. | ||
| Confluence | Directed by Tulu Bayar | 2005. 2-channel Video, 13:33 minutes |
| Confluence is a 2-channel video which aims to depict not just a simple dialogue between still image and video, but a reflection on the current arguments about the Islamic head scarf in Western cultures. Both videos are presented in slow motion - one quarter of real time - emphasizing particular mimics and gestures of the subject while presenting past and present on the same platform. I intend to depart from a classical filmic space and time, emphasizing how still image values time in a certain moment. Additionally the work is intended to create a narration from a series of moments as opposed to a series of actions. This work draws a narration based on the inner conflict of Islamic woman - the idea of covering her head or not - which I believe are both dictated externally. This work is a platform where this dilemma comes together. | ||
| Walkin’ To New Orleans | Directed by Lynn Estomin | 2006, Digital Video, 5 minutes |
| On the third anniversary of the war in Iraq, veterans and survivors of Hurricane Katrina marched through the Ninth Ward on the last leg of a week-long March for Peace and Justice from Mobile, AL, to New Orleans, LA. Iraq veterans Kelly Dougherty and Tina Garnanez expose the human cost of war – for Iraqis and for American veterans and the people living in the path of Katrina. | ||
| Star Spangled Blues | Directed by Gita Saedi, Doug Hawes-Davis, and Ken Furrow | 2006, 8 minutes |
| Through memoir, archival footage and a distinct American beat, Star Spangled Blues asks the hard question of why we fight war. Gita Saedi, an Iranian-American, weaves a narrative telling her story of a once pacifist cousin serving in Iraq; of the rise and fall of two empires that span centuries; and of optimistic hope through her son and the next generation. The film contemplates family, peace, war, freedom and American values. | ||
| Yasin | Directed by Betty Lee Kim | 2006, 14 minutes |
| Until 9/11, Yasin Zaki, 10, lived an ordinary life with his Jordanian-born parents in Southern California. After the attack, Yasin’s life is turned upside down when the FBI arrests his father in a terrifying early morning raid. Suffering from the trauma of his father’s detention, Yasin’s misfortunes are compounded when he is tormented at school. When Yasin and his mother visit his father in jail, he must decide whether to believe in his father or believe the accusations of “terrorist.” In the process, Yasin must gain the courage to confront the realities of life as a Muslim Arab-American in post-9/11 America. This searing family drama vividly captures the tragic paradox of America today—a nation grappling with questions of liberty, freedom and justice in a time of war. | ||
SUNDAY, March 18, 2007, 9:30 am - 12:30 pm, Alto
| Video | ||
| What Remains | Directed by Steven Cantor | 2005, 80 Minutes |
| In 1994, filmmaker Steven Cantor successfully captured an innovative artist at work in his award-winning short film Blood Ties: The Life and Work of Sally Mann. Blood Ties centered on a series of photographs (published in Mann's book Immediate Family) that catapulted her to national prominence, as well as her share of controversy. Twelve years later, Cantor returns to the Festival with What Remains, a feature-length film on Mann's new seminal work: a photo series revolving around various aspects of death and decay. Never one to compromise, Sally Mann reflects on her own personal feelings toward death as she continues to examine the boundaries of contemporary photography. Her willingness to reveal her artistic process as it unfolds allows the viewer to gain exclusive entrance to her world. Shown at home on her family farm in Virginia, she is surrounded by her husband and now-grown children. What Remains is a sparse, haunting photographic meditation on the death and decay of Mann's own beloved animals and the dead bodies on a forensic farm. Although macabre on the surface, the subject matter ultimately pays homage to the natural process of death-perhaps her way of coping with her husband's declining health and physical changes. This film is not only about the creative process, but a love story between Mann and her husband, and the breathtaking rural Virginia landscape. Interweaving footage of Mann and the children from the first film, Cantor explores aging, the fight against time and Mann's passion for the photos that remain. | ||
| The videos from Saturday night will follow What Remains. | ||
| See descriptions above. | ||
Conference 2007 |
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Miami, Florida |
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