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DTSTART;TZID=America/New_York:20230918T190000
DTEND;TZID=America/New_York:20230918T220000
DTSTAMP:20230830T201511Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230830T201511Z
UID:20078-1695063600-1695074400@filmstudycenter.fas.harvard.edu
SUMMARY:"Those That\, at a Distance\, Resemble Another" with filmmaker Jessica Rinland in person at the Harvard Film Archive
DESCRIPTION:Please join us at the Harvard Film Archive for a special screening of Those That\, at a Distance\, Resemble Another and conversation with filmmaker and FSC-Harvard fellow\, Jessica Sarah Rinland. \nThose That\, at a Distance\, Resemble Another\nDirected by Jessica Sarah Rinland\nUK/Argentina/Spain\, 2019\, DCP\, color\, 67 min.\nSpanish\, Portuguese and English with English subtitles. \nA meditation on the art and craft of conservation as a creative process\, Jessica Sarah Rinland’s poetic documentary Those That\, at a Distance\, Resemble Another follows the painstaking creation of a museum-quality replica of a historic elephant tusk. Observing closely the hands and tools of conservators\, and the filmmaker herself\, the film effectively defamiliarizes the ritualistic and technical work of conservators in a number of different museums and laboratories\, including the Harvard Art Museums. This is the latest of a number of films Jessica Sarah Rinland has made exploring ecological and epistemological concepts and concerns. \nAfter the screening\, Jessica Sarah Rinland will be joined in a conversation with HFA Director Haden Guest and Narayan Khandekar\, Director of the Straus Center for Conservation and Technical Studies\, Harvard Art Museums. \nTickets and more information on the HFA website \n 
URL:https://filmstudycenter.fas.harvard.edu/event/those-that-at-a-distance-resemble-another-with-filmmaker-jessica-rinland-in-person-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2020/11/Still-from-Those-That-at-a-Distance-Resemble-Another16x9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230412T180000
DTEND;TZID=America/New_York:20230412T200000
DTSTAMP:20230216T193343Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230216T193343Z
UID:19828-1681322400-1681329600@filmstudycenter.fas.harvard.edu
SUMMARY:CMP Exhibition: REMEDIATIONS
DESCRIPTION:REMEDIATIONS is an experimental exhibition of works by five PhD students in the Critical Media Practice secondary field whose researches in anthropology\, history of science\, visual studies\, and architecture engage with a range of subject matters including accessibility\, absence\, embodiment\, and opacity. \nThe show is curated by Film and Visual Studies student Mahan Moalemi and will feature pieces by CMP students Shireen Hamza\, Elitza Koeva\, Chrystel Oloukoi\, Pauline Shongov\, and Emilio Vavarella. \nApril 12-15\, 2023\nSmith Center Arts Wing \nOpening reception Wednesday\, April 12\, 6-8pm\nExhibition open Thursday\, April 13 – Saturday\, April 15\, 4-6pm\nCritique with Fred Moten Friday\, April 14\, 10am-12pm \nPhoto Credit: Emilio Vavarella\, rs548049170_1_69869_TT (The Other Shape of Me)\, 2020. © Emilio Vavarella. Photo: Alessia Rollo
URL:https://filmstudycenter.fas.harvard.edu/event/cmp-exhibition-remediations/
LOCATION:Smith Center\, Arts Wing\, 1350 Massachusetts Ave\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/EVGenesis_crop.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230410T190000
DTEND;TZID=America/New_York:20230410T220000
DTSTAMP:20230202T151129Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230202T151129Z
UID:19783-1681153200-1681164000@filmstudycenter.fas.harvard.edu
SUMMARY:"Saint Omer" with filmmaker Alice Diop in person at the Harvard Film Archive
DESCRIPTION:Please join us at the Harvard Film Archive for a special screening of Saint Omer and conversation with filmmaker and Gardner Film Study Center fellow\, Alice Diop. \nSaint Omer\nDirected by Alice Diop.\nFrance\, 2022\, DCP\, color\, 122 min.\nFrench with English subtitles. \nClad in a brown sweater that dissolves her into the drab wooden architecture of the courtroom\, Laurence Coly (Guslagie Malanda) takes the stand in Diop’s first fiction film. Based on Fabienne Kabou\, a woman who went to trial in 2016 for the drowning of her baby daughter\, Laurence is a character caught in the crosshairs of the same cultural\, bureaucratic and racial obstacles that plague the subjects throughout the filmmaker’s body of work. Here\, what’s often unspoken or implicit in Diop’s prior films is made concrete and verbal through the patient dramatic coverage of three lengthy trials attended by a French-Senegalese novelist and expectant mother\, Rama (Kayije Kagame). Restricting her focus largely to one room and shooting in a confrontational\, uninflected style\, Diop wrings powerful drama out of the merciless gazes and neutered language of the courtroom\, all of which serve to exoticize and delegitimize the testimony of the seemingly inscrutable Laurence. But what might at first seem like a coldly objective recreation of a trial evolves gradually into an intensely emotional and intermittently lyrical study of a woman shaken to her core by her identification with Laurence’s words\, and the implications of them on her own cultural heritage and intellectual future. \n  \n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-and-conversation-with-alice-diop-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Saint-Omer-Still-Image_web-e1675349275145.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230407T210000
DTEND;TZID=America/New_York:20230407T223000
DTSTAMP:20230202T151020Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230202T151020Z
UID:19809-1680901200-1680906600@filmstudycenter.fas.harvard.edu
SUMMARY:"Things of the Aimless Wanderer" with filmmaker Kivu Ruhorahoza in person at the Harvard Film Archive
DESCRIPTION:We are delighted to share the Harvard Film Archive’s program of screenings for Kivu Ruhorahoza\, the 2022-23 McMillan-Stewart fellow. This year\, with additional support from the McMillan-Stewart Foundation\, the Hutchins Center for African & African American Research\, and the Division of Arts & Humanities\, Ruhorahoza is in residence at the FSC and the Hutchins Center for the entire spring semester and will be in person at the HFA to screen and discuss his phenomenal body of work. Tickets can be purchased in advance online at the Harvard Film Archive below each individual film screening description. \nApril 7\, 9pm\nThings of the Aimless Wanderer\nIntroduction by Kivu Ruhorahoza\nDirected by Kivu Ruhorahoza.\nUK/Rwanda\, 2015\, DCP\, color\, 78 min. \nThis film pushes further Ruhorahoza’s interests in matters of reflexivity regarding representation\, this time focusing on the Western gaze upon Africa. Set in Rwanda\, Things ruminates on the possibility of a relationship between Africa and the West\, haunted by ghosts of the past\, ghosts of narratives\, trauma\, violence and violation\, and\, indeed of history\, dating as far back as the primal scene of the continent’s colonial encounter with explorers. In the process\, the filmmaker wonders whether\, in this overdetermined context of Western discursive production on Africa\, the aporia of the missionary/savage impulse is at all surmountable and\, indeed\, whether the possibility of pushing and potentially improving one’s society through the gaze of the Other is even imaginable.\nPlease visit the Harvard Film Archive website for full details and to purchase tickets. \nAbout Kivu Ruhorahoza\nKivu Ruhorahoza is one of the most important filmmakers of the contemporary generation of African filmmakers and\, arguably\, the single most significant director in the history of Rwandan cinema. He partakes of an African cinema that is in a process of profound renewal\, one that is no longer that of the founding fathers and mothers\, but a twenty-first century cinema that is at once confidently globalized and seeks to bring out the specificities of an African experience as well as foreground the possibilities and indispensability of African readings of the contemporary world. Indeed\, the richness of his cinematic discourse entails being able to say something about Africa\, affirming the right to say something about the world as viewed from Africa\, as well as being able to say something about the people who elect to say something about Africa and the world. \nThis desire to “speak” the world through cinema\, and the place of Africa within it\, is partly underwritten by the fact that\, like most African filmmakers\, he was born to find the screens of his country occupied by commercial cinemas from around the world and\, thus\, soaked in the cinemas of Hollywood\, Bollywood\, Hong Kong and Europe. Ruhorahoza was twelve years old when what is arguably the last great trauma on human conscience at the twilight of the twentieth century took place in Rwanda\, his country\, the Genocide of the Tutsi\, a grand narrative of our times that profoundly and surreptitiously informs\, resonates and echoes throughout his entire body of work. \nAs an international multi-award-winning filmmaker and artist\, Ruhorahoza has\, to date\, directed eleven short and feature films that have screened globally at prestigious festivals including FESPACO\, Sundance\, Berlinale\, IDFA\, Tribeca and Rotterdam\, among many others\, while his installations have been featured at the Tate\, the Museum of Modern Art\, and the Institute for Contemporary Art in London\, among others. \nThe eclectic cinema of Kivu Ruhorahoza is a cinema of questioning\, one that uses interrogation along with critical and vulnerable self-inscription to blaze its own trail\, in the hope of pointing to rays of light in the depth of darkness. As the title of his first film announces\, this is a “cinema of grey matter\,” that of a distinct cinematic voice that will be heard in the years and decades to come. – Aboubakar Sanogo\, Carleton University \n 
URL:https://filmstudycenter.fas.harvard.edu/event/things-of-the-aimless-wanderer-with-filmmaker-kivu-ruhorahoza-in-person-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Film-Still-Things-of-the-Aimless-Wanderer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230407T190000
DTEND;TZID=America/New_York:20230407T203000
DTSTAMP:20230202T150952Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230202T150952Z
UID:19806-1680894000-1680899400@filmstudycenter.fas.harvard.edu
SUMMARY:"Europa\, 'Based on a True Story'” with filmmaker Kivu Ruhorahoza in person at the Harvard Film Archive
DESCRIPTION:We are delighted to share the Harvard Film Archive’s program of screenings for Kivu Ruhorahoza\, the 2022-23 McMillan-Stewart fellow. This year\, with additional support from the McMillan-Stewart Foundation\, the Hutchins Center for African & African American Research\, and the Division of Arts & Humanities\, Ruhorahoza is in residence at the FSC and the Hutchins Center for the entire spring semester and will be in person at the HFA to screen and discuss his phenomenal body of work. Tickets can be purchased in advance online at the Harvard Film Archive below each individual film screening description. \nApril 7\, 7pm\nEuropa\, “Based on a True Story”\nDirected by Kivu Ruhorahoza.\nUK/Rwanda/Switzerland\, 2019\, DCP\, color\, 93 min. \nWith his penultimate film\, and indeed the logical outcome of the previous two films\, Kivu Ruhorahoza now turns to reverse ethnography\, by becoming a Rwandan/African cine-ethnographer in contemporary Europe. Britain was Europe’s most powerful country in the Age of Empire but is currently suffering from a prolonged “postcolonial melancholia” (Gilroy)\, unable to confront and “work through” its inevitable decline (as is the fate of all empires)\, and using African and other migrants and asylum seekers as scapegoats deliberately left to rot in dehumanizing bureaucratic machines. The director engages in what may be termed “cine-care” by rendering this situation through the fictional story of a love triangle between a white British couple and a Nigerian asylum seeker and setting it against the backdrop of Brexit anti-immigrant passions and debates. He does so by deploying the fictional and essayistic modes of representation in tandem\, rendering\, in the process\, homage to Chris Marker in Sans Soleil (1983)\, Ousmane Sembène in Black Girl (1966) and Jean-Pierre Bekolo in Aristotle’s Plot (1996). One of the most powerful sequences in the film is a nightclub scene in which the film’s African hero\, in the depths of despair\, dances for money\, turning on its head the notion in feminist film theory of the male subject as holder of the gaze.\nPlease visit the Harvard Film Archive website for full details and to purchase tickets. \nAbout Kivu Ruhorahoza\nKivu Ruhorahoza is one of the most important filmmakers of the contemporary generation of African filmmakers and\, arguably\, the single most significant director in the history of Rwandan cinema. He partakes of an African cinema that is in a process of profound renewal\, one that is no longer that of the founding fathers and mothers\, but a twenty-first century cinema that is at once confidently globalized and seeks to bring out the specificities of an African experience as well as foreground the possibilities and indispensability of African readings of the contemporary world. Indeed\, the richness of his cinematic discourse entails being able to say something about Africa\, affirming the right to say something about the world as viewed from Africa\, as well as being able to say something about the people who elect to say something about Africa and the world. \nThis desire to “speak” the world through cinema\, and the place of Africa within it\, is partly underwritten by the fact that\, like most African filmmakers\, he was born to find the screens of his country occupied by commercial cinemas from around the world and\, thus\, soaked in the cinemas of Hollywood\, Bollywood\, Hong Kong and Europe. Ruhorahoza was twelve years old when what is arguably the last great trauma on human conscience at the twilight of the twentieth century took place in Rwanda\, his country\, the Genocide of the Tutsi\, a grand narrative of our times that profoundly and surreptitiously informs\, resonates and echoes throughout his entire body of work. \nAs an international multi-award-winning filmmaker and artist\, Ruhorahoza has\, to date\, directed eleven short and feature films that have screened globally at prestigious festivals including FESPACO\, Sundance\, Berlinale\, IDFA\, Tribeca and Rotterdam\, among many others\, while his installations have been featured at the Tate\, the Museum of Modern Art\, and the Institute for Contemporary Art in London\, among others. \nThe eclectic cinema of Kivu Ruhorahoza is a cinema of questioning\, one that uses interrogation along with critical and vulnerable self-inscription to blaze its own trail\, in the hope of pointing to rays of light in the depth of darkness. As the title of his first film announces\, this is a “cinema of grey matter\,” that of a distinct cinematic voice that will be heard in the years and decades to come. – Aboubakar Sanogo\, Carleton University \n 
URL:https://filmstudycenter.fas.harvard.edu/event/europa-based-on-a-true-story-with-filmmaker-kivu-ruhorahoza-in-person-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Film-Still-Europa-Based-on-a-True-Story.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230403T190000
DTEND;TZID=America/New_York:20230403T213000
DTSTAMP:20230202T150905Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230202T150905Z
UID:19800-1680548400-1680557400@filmstudycenter.fas.harvard.edu
SUMMARY:“Grey Matter” with filmmaker Kivu Ruhorahoza in person at the Harvard Film Archive
DESCRIPTION:We are delighted to share the Harvard Film Archive’s program of screenings for Kivu Ruhorahoza\, the 2022-23 McMillan-Stewart fellow. This year\, with additional support from the McMillan-Stewart Foundation\, the Hutchins Center for African & African American Research\, and the Division of Arts & Humanities\, Ruhorahoza is in residence at the FSC and the Hutchins Center for the entire spring semester and will be in person at the HFA to screen and discuss his phenomenal body of work. Tickets can be purchased in advance online at the Harvard Film Archive below each individual film screening description. \nApril 3\, 7pm\nGrey Matter (Matière Grise)\nDirected by Kivu Ruhorahoza.\nRwanda\, 2011\, DCP\, color\, 110 min.\nKinyarwanda and French with English subtitles. \nRuhorahoza’s first feature is akin to a manifesto film in its announcement of several important axes of his cinema\, including the ghost of the genocide and reflexivity about and interrogation of the means\, stakes\, meaning and political economy of cinematic representation. In it\, Kivu Ruhorahoza asks the Adornian question: can and should we create after genocide\, in a context of national and continental trauma\, in the omnipresence of the memory of an open-air genocide? Can and should art exist after genocide? If so\, under what conditions? How do we repair trauma after 1994\, even of those who were not physically present during its unfortunate unfolding?\nPlease visit the Harvard Film Archive website for full details and to purchase tickets. \nAbout Kivu Ruhorahoza\nKivu Ruhorahoza is one of the most important filmmakers of the contemporary generation of African filmmakers and\, arguably\, the single most significant director in the history of Rwandan cinema. He partakes of an African cinema that is in a process of profound renewal\, one that is no longer that of the founding fathers and mothers\, but a twenty-first century cinema that is at once confidently globalized and seeks to bring out the specificities of an African experience as well as foreground the possibilities and indispensability of African readings of the contemporary world. Indeed\, the richness of his cinematic discourse entails being able to say something about Africa\, affirming the right to say something about the world as viewed from Africa\, as well as being able to say something about the people who elect to say something about Africa and the world. \nThis desire to “speak” the world through cinema\, and the place of Africa within it\, is partly underwritten by the fact that\, like most African filmmakers\, he was born to find the screens of his country occupied by commercial cinemas from around the world and\, thus\, soaked in the cinemas of Hollywood\, Bollywood\, Hong Kong and Europe. Ruhorahoza was twelve years old when what is arguably the last great trauma on human conscience at the twilight of the twentieth century took place in Rwanda\, his country\, the Genocide of the Tutsi\, a grand narrative of our times that profoundly and surreptitiously informs\, resonates and echoes throughout his entire body of work. \nAs an international multi-award-winning filmmaker and artist\, Ruhorahoza has\, to date\, directed eleven short and feature films that have screened globally at prestigious festivals including FESPACO\, Sundance\, Berlinale\, IDFA\, Tribeca and Rotterdam\, among many others\, while his installations have been featured at the Tate\, the Museum of Modern Art\, and the Institute for Contemporary Art in London\, among others. \nThe eclectic cinema of Kivu Ruhorahoza is a cinema of questioning\, one that uses interrogation along with critical and vulnerable self-inscription to blaze its own trail\, in the hope of pointing to rays of light in the depth of darkness. As the title of his first film announces\, this is a “cinema of grey matter\,” that of a distinct cinematic voice that will be heard in the years and decades to come. – Aboubakar Sanogo\, Carleton University \n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-of-grey-matter-with-filmmaker-kivu-ruhorahoza-in-person-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Film-Still-Grey-Matter.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230331T190000
DTEND;TZID=America/New_York:20230331T220000
DTSTAMP:20230202T150836Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230202T150836Z
UID:19789-1680289200-1680300000@filmstudycenter.fas.harvard.edu
SUMMARY:"Father's Day" with filmmaker Kivu Ruhorahoza in person at the Harvard Film Archive
DESCRIPTION:We are delighted to share the Harvard Film Archive’s program of screenings for Kivu Ruhorahoza\, the 2022-23 McMillan-Stewart fellow. This year\, with additional support from the McMillan-Stewart Foundation\, the Hutchins Center for African & African American Research\, and the Division of Arts & Humanities\, Ruhorahoza is in residence at the FSC and the Hutchins Center for the entire spring semester and will be in person at the HFA to screen and discuss his phenomenal body of work. Tickets can be purchased in advance online at the Harvard Film Archive below each individual film screening description. \nMARCH 31\, 7pm\nFather’s Day\nKivu Ruhorahoza in Conversation with Aboubakar Sonogo\nRwanda\, 2022\, DCP\, color\, 111 min.\nKinyarwanda with English subtitles. \nIn his latest film\, set in Rwanda\, in a COVID-19 context of confinement which\, almost by necessity\, invites an inward-looking gaze\, Kivu Ruhorahoza takes us on an exploration of masculinity through one of its most institutionalized forms: fatherhood. In the film\, he figures Rwandan societal debates around the interrogation of fatherhood in a post-genocidal context\, one in which the hands that held the machetes and struck\, the voices that aided and abetted\, the gestures that betrayed and denounced were primarily those of men. This crisis of confidence in masculinity leads the director to place hopes for the future of the social polity squarely in the hands of women and children. Through three parallel stories of failed masculinity (failure to provide\, to assume responsibility\, to grieve properly\, and the failing of humanity itself by a génocidaire)\, it falls on wives and daughters to potentially fork the path ahead\, to create a new culture of conviviality by helping heal the deep wounds of the psyche engendered by male infamy.\nPlease visit the Harvard Film Archive website for full details and to purchase tickets. \nAbout Kivu Ruhorahoza\nKivu Ruhorahoza is one of the most important filmmakers of the contemporary generation of African filmmakers and\, arguably\, the single most significant director in the history of Rwandan cinema. He partakes of an African cinema that is in a process of profound renewal\, one that is no longer that of the founding fathers and mothers\, but a twenty-first century cinema that is at once confidently globalized and seeks to bring out the specificities of an African experience as well as foreground the possibilities and indispensability of African readings of the contemporary world. Indeed\, the richness of his cinematic discourse entails being able to say something about Africa\, affirming the right to say something about the world as viewed from Africa\, as well as being able to say something about the people who elect to say something about Africa and the world. \nThis desire to “speak” the world through cinema\, and the place of Africa within it\, is partly underwritten by the fact that\, like most African filmmakers\, he was born to find the screens of his country occupied by commercial cinemas from around the world and\, thus\, soaked in the cinemas of Hollywood\, Bollywood\, Hong Kong and Europe. Ruhorahoza was twelve years old when what is arguably the last great trauma on human conscience at the twilight of the twentieth century took place in Rwanda\, his country\, the Genocide of the Tutsi\, a grand narrative of our times that profoundly and surreptitiously informs\, resonates and echoes throughout his entire body of work. \nAs an international multi-award-winning filmmaker and artist\, Ruhorahoza has\, to date\, directed eleven short and feature films that have screened globally at prestigious festivals including FESPACO\, Sundance\, Berlinale\, IDFA\, Tribeca and Rotterdam\, among many others\, while his installations have been featured at the Tate\, the Museum of Modern Art\, and the Institute for Contemporary Art in London\, among others. \nThe eclectic cinema of Kivu Ruhorahoza is a cinema of questioning\, one that uses interrogation along with critical and vulnerable self-inscription to blaze its own trail\, in the hope of pointing to rays of light in the depth of darkness. As the title of his first film announces\, this is a “cinema of grey matter\,” that of a distinct cinematic voice that will be heard in the years and decades to come. – Aboubakar Sanogo\, Carleton University \n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-of-fathers-day-with-filmmaker-kivu-ruhorahoza-in-person-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Film-Still-Fathers-Day.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230320T173000
DTEND;TZID=America/New_York:20230320T200000
DTSTAMP:20230207T211031Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230207T211031Z
UID:19819-1679333400-1679342400@filmstudycenter.fas.harvard.edu
SUMMARY:"Out of Breath" with filmmaker Helena Lemos Petta in person
DESCRIPTION:Join us for a screening of Out of Breath by FSC Associated fellow\, Helena Lemos Petta. Awarded the Best Documentary in the Brazilian Competition of the 2022 It’s All True International Documentary Film Festival Out of Breath shows healthcare as it intersects with religion\, inequalities and racism. The documentary sheds light on this health crisis giving a human face to our collective struggle against COVID 19 as we look for some healing in a world in desperate need of care. \nA reception with light refreshments will be served at 5pm and the film screening will begin at 5:30pm. \nHelena Lemos Petta graduated in Medicine from the Faculty of Medical Sciences of Santa Casa de São Paulo (2004)\, Master’s in Public Health from the Oswaldo Cruz Foundation and holds a Doctorate from the Department of Preventive Medicine at the University of São Paulo. Helena was a PhD exchange student at Harvard School of Public Health (2017 – 2018). She is the creator of the medical television series Basic Unit transmitted by the Universal Channel\, and author of “Basic Unit: a Brazilian public health on TV”\, by Hucitec (2020). Helena has experience in ​​communication and health. \nMarcia Castro is Andelot Professor of Demography\, Chair of the Department of Global Health and Population at the Harvard TH Chan School of Public Health\, and Chair of the Brazil Studies Program of the David Rockefeller Center for Latin American Studies (DRCLAS). Her research focuses on the development and use of multidisciplinary approaches to identify the determinants of infectious disease transmission in different ecological settings to inform control policies. She has more than 15 years of collaboration with Brazilian researchers\, Health Secretariats\, and the Ministry of Health particularly related to infectious diseases. She made important contributions during recent public health emergencies (the Zika virus epidemic and the COVD-19 pandemic). Castro has projects on malaria\, COVID-19\, arboviruses\, infant/child mortality and development\, and climate change in the Brazilian Amazon. Specifically\, on COVID-19 she has been assessing the spatiotemporal pattern of COVID-19 spread in Brazil\, mortality\, and fertility changes due to the pandemic\, risk factors for mortality\, and vaccine effectiveness. She serves on several advisory boards in Brazil\, including the Institute for the Studies of Health Policies (IEPS)\, the Science Center for Early Childhood (NCPI)\, and Instituto Todos Pela Saúde (ITpS). She earned a PhD in Demography from Princeton University. \nPresented in collaboration with The David Rockefeller Center for Latin American Studies\, Department of Global Health and Population\, and T.H. Chan School of Public Health. \n 
URL:https://filmstudycenter.fas.harvard.edu/event/out-of-breath-with-filmmaker-helena-lemos-petta-in-person/
LOCATION:TSAI AUDITORIUM CGIS South\, 1730 Cambridge Street\, Cambridge\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2022/08/Image-1-e1675802672770.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221202T190000
DTEND;TZID=America/New_York:20221202T213000
DTSTAMP:20221130T024329Z
CREATED:20221115T171203Z
LAST-MODIFIED:20221130T024329Z
UID:19730-1670007600-1670016600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening and Conversation with Paz Encina at the Harvard Film Archive
DESCRIPTION:Please join us at the Harvard Film Archive for a special screening of EAMI and conversation with filmmaker and Radcliffe-FSC fellow\, Paz Encina. \nThe Harvard Film Archive is pleased to welcome back Paz Encina\, now as a 2022-23 Radcliffe/Film Study Center Fellow. Encina will be joined in conversation with AFVS Visiting Professor in Film\, Dominga Sotomayor\, David Rockefeller Center for Latin American Studies Visiting Scholar Cecilia Barrionuevo and HFA Director Haden Guest. \nPaz Encina (b. 1970) has created a series of spellbinding and visually striking films\, all set in her native Paraguay and powerfully meditating on memory\, history and the passage of different levels of time—personal\, historic\, natural. Encina’s latest film EAMI is a moving and sensitive portrait of the indigenous Ayoreo Totobiegosode people\, among the last tribes living in isolation in the Amazon but now threatened by rampant and illegal deforestation of their ancestral lands. Told from the point of view of the eponymous hero\, a young boy who is perhaps also the incarnation of a bird-god\, EAMI embraces the style and structure of indigenous storytelling\, with the boy’s incantatory narrative intertwined with other tribal voices and perspectives. By blending lyrical ethnography and mythopoetic narrative\, Encina crafts a richly textured immersion into the Ayoreo Totobiegosode imagination that never attempts to explain or render their culture fully accessible\, but instead seeks to give it intimate voice and dignity. Winner of the prestigious Tiger Award at the 2022 Rotterdam International Film Festival\, EAMI is an exemplary work of compassionate cinema. \n 
URL:https://filmstudycenter.fas.harvard.edu/event/paz-encina-presents-her-film-eami-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2022/11/Eami.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221108T090000
DTEND;TZID=America/New_York:20221108T120000
DTSTAMP:20221025T204204Z
CREATED:20211215T171203Z
LAST-MODIFIED:20221025T204204Z
UID:19709-1667898000-1667908800@filmstudycenter.fas.harvard.edu
SUMMARY:Screening and Conversation with filmmaker Anand Patwardhan
DESCRIPTION:Please join us for a special screening and conversation with filmmaker Anand Patwardhan\, a collaboration between the Film Study Center and Sensory Ethnography class. Patwardhan will visit with students and fellows and screen his documentary\, War and Peace\, on November 8. In addition to this event\, Patwardhan’s films are currently screening at the Harvard Film Archive. \n“For more than four decades\,” his 2020 New York Times Magazine profile notes\, Anand Patwardhan “has been India’s leading documentary filmmaker.” X-rays of Indian modernity\, his frequently expressionistic films tug at the frayed edges of an unraveling nation to reveal the threads—of class inequity\, casteism\, masculinity\, religious fundamentalism\, and nationalism—that warp and weft through the fabric of what the ruling Bharatiya Janata Party calls the New India.” –IDA \nAbout War and Peace: \nFilmed over four tumultuous years in India\, Pakistan\, Japan and the USA following nuclear tests in the Indian sub-continent\, War and Peace is a documentary journey of peace activism in the face of global militarism and war. The film is framed by the murder of Mahatma Gandhi in 1948\, an act whose portent and poignancy remains undiminished half a century later. For the filmmaker\, whose family was immersed in the non-violent Gandhian movement\, the sub-continent’s trajectory towards unabashed militarism is explored with sorrow though the film captures stories of resistance along the way. Amongst these is a visit to the “enemy country” of Pakistan\, where contrary to expectations\, Indian delegates are showered by affection not only by their counterparts in the peace movement but by uninitiated common folk. \nThe film moves on to examine the costs being extracted from citizens in the name of national security. From the plight of residents living near the nuclear test site to the horrendous effects of uranium mining on local indigenous populations\, it becomes abundantly clear that contrary to a myth first created by the U.S.A\, there is no such thing as the “peaceful Atom”. \nWar and Peace slips seamlessly from a description of home made jingoism to focus on how an aggressive United States has become a role model\, its doctrine of “Might is Right” only too well-absorbed by aspiring elites of the developing world. \nWar has become perennial\, enemies are re-invented and economies inextricably tied to the production and sale of weapons. In the moral wastelands of the world memories of Gandhi seem like a mirage that never was\, created by our thirst for peace and our very distance from it. \nOpen to FSC fellows\, CMP students\, and the AFVS community.
URL:https://filmstudycenter.fas.harvard.edu/event/screening-and-conversation-with-filmmaker-anand-patwardhan/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
CATEGORIES:Artist Talk,Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/12/16x9-Gandhi-baby-AI-crop.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220926T180000
DTEND;TZID=America/New_York:20220926T203000
DTSTAMP:20220926T213154Z
CREATED:20211215T171203Z
LAST-MODIFIED:20220926T213154Z
UID:19678-1664215200-1664224200@filmstudycenter.fas.harvard.edu
SUMMARY:Scriptwriting For Working With Non-Professional Actors
DESCRIPTION:Please join us for a workshop on scriptwriting and working with non-professional actors in non-fiction films. FSC fellows Khary Jones\, Karthik Pandian\, and Dominga Sotomayor\, together with visiting filmmaker Adirley Queirós\, will show excerpts of their films and talk about how they use writing in particular ways in their work. The conventions of scriptwriting are almost exclusively centered around the idea of writing for fiction\, but when you start filming\, you’re in a different place\, a site for an encounter with the real and with the people you film. We will discuss why writing for hybrid works and how to write a film to let reality and chaos in\, do away with your script\, and start over the first day of shooting. We will focus on writing for hybrid works between fiction and documentary and how writing can be integrated when working in non-fiction films and with non-professional actors. An open conversation prompted by the questions introduced by the filmmakers will follow. \nKhary Jones engages film projects that explore the tensions between fiction\, memory\, and everyday life.  His films and collaborations have screened at Sundance\, SXSW\, MoMA\, CIFF\, Full Frame\, ICA Boston\, and many other festivals and venues.  As a writer-director\, his work includes the short films Hug\, Three and a Half Thoughts\, Chrysalis\, and the forthcoming feature-length films Night Fight and Gumbo. Khary studied at Columbia University (MA\, MFA) and Morehouse College (BA)\, and he is currently a Professor of the Practice in Drama and Film at Tufts University where he teaches storytelling for the screen and advises students developing both scripted and documentary projects from inception to edit. \nKarthik Pandian is an artist who works in films\, exhibitions\, and public interventions to unsettle the ground of history. He uses moving image\, sculpture\, and performance to render the mythologies of the present through forgotten\, fragmentary\, and futuristic pasts. Karthik has held solo exhibitions at the Whitney Museum of American Art; Bétonsalon\, Paris; and Midway Contemporary Art\, Minneapolis amongst others. Pandian is currently at work on a feature film – Lucid Decapitation – supported by a 2022 Creative Capital Award as well as a public performance in St. Paul produced in collaboration with Mike Forcia and Midway Contemporary Art. He teaches in the Department of Art\, Film\, and Visual Studies at Harvard University. \nAdirley Queirós is a filmmaker from Brazil. His latest film\, Dry Ground Burning\, premiered at the Berlinale Forum in February 2022\, won the Grand Prix at Cinema du Reel\, as well as the main awards at Indielisboa\, Athens Film Festival\, Dokufest\, among others\, and is now being shown at TIFF and the NYFF in North America\, where it will be distributed by Grasshopper Films. Adirley has previously written\, produced and directed three other features\, all shot in Ceilândia\, the periphery of Brasilia where he is from and lives: Once it was Brasilia\, The City is One Only?\, and White Out Black In. \nDominga Sotomayor is a film director\, writer\, and producer born in Santiago de Chile. Her first feature film Thursday till Sunday (2012) was developed at the Cannes Cinéfondation Residence\, and won the Tiger Award in the 41º Rotterdam Film Festival. For Too Late To Die Young(2018) she became the first woman to receive the Leopard for Best Direction at 71º Locarno Film Festival. Dominga is also one of the founders of the production company CINESTACIóN and artistic director at CCC\, Centro de Cine y Creación\, a new arthouse cinema and center in Santiago de Chile. \nOpen to FSC fellows and CMP students
URL:https://filmstudycenter.fas.harvard.edu/event/scriptwriting-for-working-with-non-professional-actors/
LOCATION:Sever Hall 416\, Harvard Yard\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Artist Talk,Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/12/tardeparamorirjoven-768x432-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220920T150000
DTEND;TZID=America/New_York:20220920T170000
DTSTAMP:20220909T160208Z
CREATED:20211215T171203Z
LAST-MODIFIED:20220909T160208Z
UID:19588-1663686000-1663693200@filmstudycenter.fas.harvard.edu
SUMMARY:Filmmaking from the Archive: A Conversation with filmmaker Leandro Listorti and archivist Amy Sloper
DESCRIPTION:Please join us for a conversation between filmmaker Leandro Listorti and Harvard Film Archive collections archivist Amy Sloper. Listorti will discuss his most recent film\, Herbaria which\, through the use of both archival and current footage\, explores parallel worlds of cinema and plants. Herbaria will screen the previous night\, September 19 at 7:00pm at the Harvard Film Archive. \nLeandro Listorti is an Argentinian filmmaker\, programmer\, and archivist. From 2005 to 2015\, he worked as a programmer at BAFICI and is a founding member of ARCA (Archivo Regional de Cine Amateur) and a co-founder of the production company Maravillacine. He currently manages the film archive at the Museo del Cine in Buenos Aires\, from which he culled pieces of unfinished films to compose his previous work\, The Endless Film (2018)\, a film fashioned out of the culture of disappearance in Argentina and its effect on film history. His latest film\, Herbaria (2022)\, has screened at numerous festivals and won awards at Visions du Réel\, Pesaro International Festival of New Cinema\, and New Horizons International Film Festival. \nOpen to FSC fellows\, CMP students\, and the AFVS community.\nKindly RSVP to program coordinator\, Cozette Russell at cerussell@fas.harvard.edu
URL:https://filmstudycenter.fas.harvard.edu/event/filmmaking-from-the-archive-a-conversation-with-filmmaker-leandro-listorti-and-archivist-amy-sloper/
LOCATION:Sever Hall 416\, Harvard Yard\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/12/HERBARIA_10.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220420T180000
DTEND;TZID=America/New_York:20220420T203000
DTSTAMP:20220526T201226Z
CREATED:20211215T171203Z
LAST-MODIFIED:20220526T201226Z
UID:19440-1650477600-1650486600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: "Three Summers" with Filmmaker and FSC-Radcliffe Fellow Sandra Kogut
DESCRIPTION:Please join us for an evening with filmmaker and Radcliffe-FSC Fellow Sandra Kogut. Sandra will be screening her film Three Summers followed by a discussion with Joana Pimenta\, Filmmaker and Interim Director of the Film Study Center. \n6:00pm Reception\n6:30pm Film and Discussion \nThree Summers (Brazil/France\, 2019\, 94 min. Portuguese with English subtitles) \nEvery December\, between Christmas and New Year\, Edgar and Marta host a lavish family celebration at their luxurious summer house by the beach. In 2015 all seemed well\, despite some tense phone calls and a guest wearing an ankle monitor. In 2016 the annual party was abruptly canceled. In 2017\, their lives were turned upside down. What happens to the invisible people living in the orbit of the rich and powerful when these lives collapse? Through the gaze of an employee and a forgotten elderly father\, both victims of the neoliberal nightmare\, we see a portrait of contemporary Brazil just before the tragedy of 2018. The signs were all there\, but we didn’t know how to read them. \nSandra Kogut is a Brazilian film director who works in and between France\, US\, and Brazil. Her award-winning feature-length fiction and documentary films have premiered at Festivals such as Cannes\, Toronto\, and Berlin\, among others. She is currently a Fellow at the Harvard Radcliffe Institute. \nJoana Pimenta is a Portuguese filmmaker\, currently working in the United States and Brazil. She teaches at the Department of Art\, Film\, and Visual Studies at Harvard University. Her latest film\, Dry Ground Burning\, co-directed with Adirley Queirós\, has premiered at the 72nd Berlinale\, and won the Grand Prix at Cinéma du Réel. \nA limited number of Harvard affiliates can register to participate in this in-person film screening. Pre-registration recommended.\nhttps://www.eventbrite.com/e/film-screening-three-summers-interview-with-the-director-sandra-kogut-tickets-311871344587 \nPresented in collaboration with The David Rockefeller Center for Latin American Studies (DRCLAS).
URL:https://filmstudycenter.fas.harvard.edu/event/screening-three-summers-with-filmmaker-and-fsc-radcliffe-fellow-sandra-kogut/
LOCATION:TSAI AUDITORIUM CGIS South\, 1730 Cambridge Street\, Cambridge\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/12/Film-Still-Three-Summers.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220405T183000
DTEND;TZID=America/New_York:20220405T210000
DTSTAMP:20220405T130122Z
CREATED:20211215T171203Z
LAST-MODIFIED:20220405T130122Z
UID:19399-1649183400-1649192400@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Morgan Quaintance
DESCRIPTION:Morgan Quaintance will be sharing three of his shorts\, that effortlessly reassemble idiosyncratic connections between our past and our present through rich archival material and astute writing. \nAfter nearly a decade writing texts\, critical in both approach and importance\, that examine the sociopolitical entanglements of UK contemporary art\, Morgan Quaintance started working in moving images through a series of acclaimed experimental film essays in 2018. Since then\, his films have been well-received at top festivals (NYFF Currents\, IFFR) and awarded prizes across a wide swath of festivals\, from CPH:DOX and Punto de Vista to the Tacoma Film Festival. In this program\, the FSC is presenting a selection of the filmmaker’s most recent works\, which further develop his practice making linkages between the past and present\, tracing aesthetic and political similarities across different spaces and movements\, and positioning the personal as a necessary and additive lens to the discursive. These three short films assemble and reassemble interests across the cultural spectrum\, from the “death gaze” of yellow journalism to very personal medical imagery\, and connected by clever\, occasionally cheeky\, and always incisive writing that makes ample use of written and spoken text. Amid the increasing prominence of essay films at major documentary and experimental film festivals around the world\, Quaintance’s work is vital. \nTaking two anti-racist and anti-authoritarian liberation movements in South London and Chicago’s South Side as a point of departure\, South (2020) presents an expressionistic investigation of the power of individual and collective voice. Interlinked with Morgan Quaintance’s own biography (time spent living in both London and Chicago)\, the film also considers questions of mortality and the will to transcend a world typified by concrete relations. \nIn Surviving You\, Always (2020)\, the transcendental promise of psychedelic drugs contrasts with a concrete and violent experience of metropolitan living. These two opposing realities form the backdrop for an adolescent encounter told through still images and written narration. \nA Human Certainty (2021) follows the neurotic ramblings of a death-obsessed romantic in the throes of post-breakup blues. The autoimmune condition of St. Lidwina\, the tabloid street photographer Weegee\, and the filmmaker’s own spiritualist grandmother all come together to reflect on a particularly painful day at the beach. \nMorgan Quaintance is a London-based artist and writer. His moving image work has been shown and exhibited widely at festivals and institutions including: MOMA\, New York; Mcevoy Foundaton for the Arts\, San Francisco; Konsthall C\, Sweden; David Dale\, Glasgow; European Media Art Festival\, Germany; Alchemy Film and Arts Festival\, Scotland; Images Festival\, Toronto; International Film Festival Rotterdam; and Third Horizon Film Festival\, Miami. \nHe is the recipient of the 2021 Best Documentary Short Film Award at Tacoma Film Festival\, USA; the Explora Award at Curtocircuito International Film Festival\, Santiago de Compostela; UK Short Film Award at Open City Documentary Film Festival\, London\, the Jean Vigo Prize for Best Director at Punto de Vista\, Spain\, and the 2021 Best Experimental Film Award at Curtas Vila do Conde\, Portugal\, all for the film Surviving You\, Always (2021); the 2020 New Vision Award at CPH:DOX\, Denmark and the 2020 Best Experimental Film award at Curtas Vila Do Conde\, Portugal \, both for the film South (2020) . \nOver the past ten years\, his critically incisive writings on contemporary art\, aesthetics\, and their socio-political contexts\, have featured in publications including Art Monthly\, the Wire\, and the Guardian\, and helped shape the landscape of discourse and debate in the UK. Quaintance’s films are distributed by LUX\, London. \nCo-sponsored with The DocYard \nThis event is open to the Harvard Community.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-morgan-quaintance/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/12/South_two_16x9-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220331T170000
DTEND;TZID=America/New_York:20220331T190000
DTSTAMP:20220328T211450Z
CREATED:20211215T171203Z
LAST-MODIFIED:20220328T211450Z
UID:19431-1648746000-1648753200@filmstudycenter.fas.harvard.edu
SUMMARY:Visiting Artist Talk with Moyra Davey and Screening of “i confess”
DESCRIPTION:Moyra Davey’s work comprises the fields of photography\, video and writing. Trained in photographic and moving image practices throughout the 1980s\, Davey became a mother in 1996\, prompting her to edit the collection Mother Reader: Essential Writings on Motherhood (2001)\, a survey of texts on creative life and maternal ambivalence. Subsequent to this period of research\, non-fiction writing in tandem with video\, took on greater significance in Davey’s artistic work. Since 2005 she has produced six narrative videos\, including the Les Goddesses trilogy\, focusing on the imagined\, intersecting lives of the female British Romantics\, and those of her five sisters; and i confess\, an essayistic work anchored by the emergent themes of race\, poverty\, and language in twentieth century Quebec. Davey took a hiatus from photography in 2003\, but resumed making still images six years later\, almost by accident\, when a gallery’s invitation to participate in an exhibition from afar\, prompted her to fold and mail photographs. This method of treating the photograph as a “giant postcard” enabled a new approach to the image\, and soon became a staple of Davey’s practice. She has authored numerous books\, most recently an essay collection\, Index Cards (2020)\, and The Shabbiness of Beauty (2021)\, in collaboration with the estate of Peter Hujar. Davey has exhibited widely\, and has participated in the Whitney/São Paulo/Montreal and Toronto Biennials\, as well as documenta-14 in Athens and Kassel. Her artworks are held in numerous public collections\, including MoMA and the Metropolitan Museum of Art in New York\, The Reina Sofia\, Madrid\, and Tate Modern\, London. A survey of her videos will be presented at MoMA\, NY in 2022. Davey is a 2020 John S. Guggenheim Fellow.
URL:https://filmstudycenter.fas.harvard.edu/event/visiting-artist-talk-with-moyra-davey-and-screening-of-i-confess/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/12/Film-Still-from-I-Confess-by-Moyra-Davey.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220325
DTEND;VALUE=DATE:20220404
DTSTAMP:20220526T202421Z
CREATED:20211215T171203Z
LAST-MODIFIED:20220526T202421Z
UID:19301-1648166400-1649030399@filmstudycenter.fas.harvard.edu
SUMMARY:McMillan-Stewart Fellow Flora Gomes at Harvard
DESCRIPTION:Filmmaker and McMillan-Stewart fellow Flora Gomes will be visiting Harvard from March 23-30\, 2022\, for a series of screenings\, classroom visits\, and events with students and fellows. A retrospective of his films will screen at the Harvard Film Archive with Gomes in person at several of the events.  \nHarvard Film Archive Screenings:\nMarch 24\, 7pm: My Voice\nMarch 25\, 7pm: Mortu Nega *\nMarch 26\, 7pm: O Regresso de Amilcar Cabral & The Blue Eyes of Yonta *\nMarch 27\, 7pm: Tree of Blood *\nApril 2\, 3pm: The Children’s Republic\nApril 3\, 7pm: The Blue Eyes of Yonta \n* Flora Gomes in person \nMcMillan-Stewart Fellowship announcement: \nThe Film Study Center and the Harvard Film Archive are pleased to announce that the pioneering Bissau-Guinean director Flora Gomes has been selected as the 2021-22 McMillan-Stewart Fellow in Distinguished Filmmaking. Inspired by his early life under Portuguese colonial rule and by the thought and example of liberation leader Amilcar Cabral\, Gomes forged a powerful brand of revolutionary filmmaking that seeks to undo the imperialist narrative and give genuine voice to people and subjects that have long been ignored and oppressed. \nGomes’ time as a student of legendary Cuban filmmaker Santiago Alavarez\, and as assistant to Chris Marker\, were vital experiences that fed his early militant documentaries and his breakthrough film\, Mortu Negra [Death Denied] (1988)\, a powerful retelling of the 1973 Guinea-Bissau war for independence through the eyes of a young woman who joins her husband on the battlefield. A sober reconsideration of the cost of war and the bitter struggles that follow victory\, Mortu Negra is a complex and milestone film that also pays tribute to the resilience of African women. Gomes’ subsequent films include the acclaimed The Blue Eyes of Yonta (1992)\, a tender study of the post-independence generation\, and his spellbinding masterwork Tree of Blood (1996)\, a fable-like film that enters deep into the realm of legend and myth. Gomes’ more recent films and works in progress extend his project to chronicle the still ongoing anti-imperialist struggle and to make legible the dynamics of power and oppression at work across the African continent. \nThe McMillan-Stewart Fellowship in Distinguished Filmmaking was established at the Film Study Center in 1997 with a generous gift from Geneviève McMillan in memory of her late friend\, Reba Stewart\, to support outstanding filmmakers from Africa or the African diaspora. The endowment provides both a fellowship for the laureate\, through which they visit Harvard and share their work with the University community\, and also for the purchase of a representative example of the fellow’s oeuvre for preservation in the Harvard Film Archive. The McMillan-Stewart Advisory Committee for 2021-22 is comprised of Mahen Bonetti\, Haden Guest\, Dieudo Hamadi\, Joana Pimenta\, and Aboubakar Sanogo.
URL:https://filmstudycenter.fas.harvard.edu/event/mcmillan-stewart-fellow-flora-gomes-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/10/Tree-of-Blood-.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220302T180000
DTEND;TZID=America/New_York:20220302T203000
DTSTAMP:20220228T165356Z
CREATED:20211215T171203Z
LAST-MODIFIED:20220228T165356Z
UID:19381-1646244000-1646253000@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: "La Libertad" with Curator Cecilia Barrionuevo
DESCRIPTION:Cecilia Barrionuevo\, Artistic Director of Argentina’s Mar del Plata Film Festival\, will introduce a screening of La Libertad by Lisandro Alonso\, former Radcliffe-FSC fellow. \nLA LIBERTAD\nLisandro Alonso\, 2001\, Argentina\, 73 minutes\nLisandro Alonso’s landmark feature debut\, based on months of closely observing its subject’s routines\, follows a day in the life of Misael\, a young woodcutter in the Argentinean pampas. Using long takes that are at once uninflected and hyper-attentive\, La Libertad chronicles the stark facts and repetitive actions of Misael’s largely solitary existence: he searches for trees and chops wood\, pauses to defecate or eat\, prepares and transports the logs for sale\, returns to his camp to build a fire and cook his dinner. The title crystallizes a question about this man’s life: is the cyclical daily grind a burden or a kind of freedom? Or does the title refer to Alonso’s conception of an anti-dramatic\, materialist cinema\, absolutely in-the-moment and liberated from the traditional confines of fiction and documentary? “An account of everyday work that transforms the banal into poetry\, maybe even myth\,” James Quandt wrote of La Libertad\, named one of the top 10 films of the past decade in Cinema Scope magazine. An NYFF39 selection. (Film at Lincoln Center)\n  \nCECILIA BARRIONUEVO\nArtistic Director of the Mar del Plata International Film Festival and a permanent member of the Festival’s programming team since 2010\, Cecilla has also collaborated as a guest film programmer at the Latin American Art Museum of Buenos Aires\, Sala Lugones at the San Martín Theater\, Cortópolis Festival\, La Casa Encendida in Madrid\, the International Film Festival of Uruguay\, Museum of Contemporary Art of Buenos Aires\, Neighboring Scenes – The Films Society of Lincoln Center\, Antofacine. She co-edited the publication  Las  Naves Cine and  the books El tiempo detenido and Film Comment\, una antología. She has contributed as a writer to various cultural publications\, magazines and books\, taken part in round tables and conferences and taught film classes. (DocumentaMadrid)\n  \nThis screening is open to the Harvard community.
URL:https://filmstudycenter.fas.harvard.edu/event/screening-la-libertad-with-cecilia-barrionuevo-artistic-director-of-argentinas-mar-del-plata-film-festival/
LOCATION:Lecture Hall\, Carpenter Center for the Visual Arts\, level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/12/La-Libertad.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20211202T173000
DTEND;TZID=UTC:20211202T193000
DTSTAMP:20211129T182454Z
CREATED:20211121T234020Z
LAST-MODIFIED:20211129T182454Z
UID:19282-1638466200-1638473400@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Alain Gomis
DESCRIPTION:Filmmaker Alain Gomis (McMillan-Stewart Fellow\, 2017-18) will join the FSC for a work in progress screening of his current film. \nAlain Gomis\, born in France\, is of Senegalese origin and studied cinematography at the Sorbonne. After graduating he organized and facilitated video production workshops for immigrant youth in Nanterre. By the age of twenty-six\, he had already made three short films: Tourbillons\, Tout le monde peut se tromper\, and the documentary Caramels et chocolats. In 2001\, Gomis directed his first feature film\, L’Afrance. Gomis’ 2012 film\, Tey\, was awarded the Etalon de Yenenga at FESPACO in 2012. His films often fall under the subject of young immigrants from Sub-Saharan Africa. His 2017 film Félicité won the grand jury prize at the Berlinale and the Étalon d’or again at FESPACO. It was also selected as the Senegalese entry for the Best Foreign Language Film at the 90th Academy Awards\, making the December shortlist. Alain Gomis regularly gives production and writing workshops\, and\, in 2019\, he and Aissatou Diop created the Yennenga Center in Dakar to promote independent film production in Senegal and Africa. (African Film Festival) \nThis event is for current FSC fellows\, CMP students\, and members of the AFVS community.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-alain-gomis/
LOCATION:MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/png:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/01/Alain-Gomis-at-the-HFA-2018.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20211101T150000
DTEND;TZID=UTC:20211101T163000
DTSTAMP:20210930T170612Z
CREATED:20210121T234020Z
LAST-MODIFIED:20210930T170612Z
UID:19239-1635778800-1635784200@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Nadav Lapid
DESCRIPTION:The Film Study Center is excited to welcome celebrated Israeli writer-director Nadav Lapid. \nNadav Lapid makes intensely personal\, cunningly political\, and propulsive films brimming with an energy often mirrored by his lead characters. Ahed’s Knee\, his fourth feature and co-winner of the Jury Prize at Cannes\, is arguably his most radical film yet — one steeped in torment and angst with irrepressible moments of despairing romanticism emanating from Y\, an obvious alter ego to Lapid. \nPlayed with fierce physicality by choreographer Avshalom Pollak\, Y is a filmmaker and artist who\, in the midst of casting for a project inspired by real-life Palestinian activist Ahed Tamimi\, receives an invitation to present one of his films in a small town in the arid Arava Valley. There he is met by vast desert expanses — which he films on his phone and sends to his ailing mother — and his host\, Yahalom (Nur Fibak)\, a passionate admirer of his work who arranged the screening in her role as deputy director of the Ministry of Culture’s library department. The two instantly engage in a physical and intellectual game of cat and mouse\, but when Y is asked to sign a waiver declaring that he will stick to government-sanctioned topics in his introductory address\, he cannot contain his indignation at the Ministry’s censorious agenda and the ills behind it. \nA formally brazen and\, at times\, purposefully assaultive work that questions an artist’s moral imperative to resist cultural and political oppression and state-backed propaganda\, Ahed’s Knee pulls no punches. It feverishly and viscerally confronts residual trauma that festers like an open wound in a cycle of violence\, in which the oppressed becomes the oppressor. Lapid’s film enacts a manifesto-like gesture that demands a response — and silence is not an option. — Andrea Picard\, TIFF \n  \nOct. 26\, 12pm and 6pm: Screening of Ahed’s Knee (2021\, 110 min.)\nNov. 1\, 3pm: NfW with Nadav Lapid (via Zoom)
URL:https://filmstudycenter.fas.harvard.edu/event/copy-of-the-fsc-nonfiction-workshop-presents-nadav-lapid/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/01/Aheds-Knee.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20211019T173000
DTEND;TZID=UTC:20211019T203000
DTSTAMP:20211016T234725Z
CREATED:20210121T234020Z
LAST-MODIFIED:20211016T234725Z
UID:19182-1634664600-1634675400@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Paula Gaitán
DESCRIPTION:We are pleased to welcome visual artist\, photographer\, poet\, and filmmaker Paula Gaitán to the Film Study Center. \nPaula Gaitán was born in Paris in 1954 and received a Visual Arts degree from the University of Los Andes in Bogotá\, Colombia. Paula’s work combines a deeply personal artistic vision with palpable reality. Her filmography consists of nine feature length films. In 2016\, the Cinematheque of Museum of Modern Art (MAM – Rio de Janeiro) presented a retrospective of her work \, and Mostra Tiradentes\, also in Brazil\, presented a homage to her work in the 2021 edition. She currently lives and works in the city of São Paulo\, Brazil. \nOct. 13\, 1pm: Screening of Light in the Tropics (2020\, 4hrs. 19min.)\nOct. 19. 5:30pm: Screening of Uaká (1988\, 77 min.)
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-paula-gaitan/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/01/Paula-Gaitan_16x9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211004
DTEND;VALUE=DATE:20211006
DTSTAMP:20211004T150540Z
CREATED:20210121T234020Z
LAST-MODIFIED:20211004T150540Z
UID:19214-1633305600-1633478399@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Payal Kapadia
DESCRIPTION:We are delighted to co-sponsor with the DocYard a special screening and visit with filmmaker Payal Kapadia. \nPayal Kapadia’s latest film A Night of Knowing Nothing will screen at the DocYard on Monday\, Oct. 4 followed by a Q&A over Skype. The following evening Payal will visit the Film Study Center’s Nonfiction Workshop at 5:30pm (over Zoom) for a discussion about her films. If you are interested in attending and are not currently an FSC fellow (we are only able to accommodate a limited number of participants) kindly email FSC’s program coordinator Cozette Russell (cerussell@fas.harvard.edu). \nABOUT THE FILM \nStarting with a beautifully accomplished trilogy of short films\, Mumbai-based filmmaker Payal Kapadia has developed a bold hybrid cinema that seamlessly combines fiction and nonfiction techniques. In A Night of Knowing Nothing\, her first feature\, Kapadia’s vision continues in fearless\, rigorous\, and utterly astonishing form—and was justly rewarded with the documentary Golden Eye prize at Cannes 2021. The film’s story comprises a series of love letters found in a cupboard at a film school\, from a student who is separated from her lover and thus writing and saving them for his return. As the letters are read aloud by an actor\, the visual material that bolsters the narrative is comprised of beautiful 16mm footage that Kapadia and collaborator Ranabir Das (the film’s cinematographer and editor) recorded of their friends\, and their friends’ own videos\, starting in 2017. All of the crisp diegetic recordings\, voiceover narration\, and images merge and flow into each other effortlessly\, setting up the context for even those unfamiliar with India’s present and presenting an oneiric telling of personal and societal responsibility. In this way\, the story of one student’s relationship becomes a larger story about the life of university students more broadly\, told with great urgency\, especially once the film advances to its titular night. (AS) \nWorld Premiere and L’Œil d’or\, le prix du documentaire winner at 2021 Cannes. Closing Night at 2021 FIDMarseille. Official Selection of 2021 TIFF Wavelengths and 2021 NYFF Currents and winner of the Cinematic Vision Award at Camden International Film Festival this past weekend where the film had its US Premiere. \nABOUT THE FILMMAKER \nPayal Kapadia is a Mumbai-based filmmaker and artist. She studied Film Direction at the Film & Television Institute of India. Her short films Afternoon Clouds and And What Is The Summer Saying premiered respectively at the Cinéfondation and Berlinale. She is a Berlinale Talents alumna and participated in 2019 at the Cinéfondation – Residence in du Festival de Cannes. \nHer first feature-length film A Night of Knowing Nothing was selected for Director’s Fortnight\, Cannes 2021 where it won the Golden Eye Prize for Best Documentary. Her next project\, All We Imagine as Light\, which received support from CICLIC\, Hubert Bals Fund\, and PJLF Arts Fund\, is currently in development.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-payal-kapadia/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/01/A-Night-of-Knowing-Nothing-Still-2-1024x768-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210913T173000
DTEND;TZID=UTC:20210913T190000
DTSTAMP:20210823T161612Z
CREATED:20210121T234020Z
LAST-MODIFIED:20210823T161612Z
UID:19144-1631554200-1631559600@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Elizabeth A. Povinelli
DESCRIPTION:We are delighted that critical theorist and filmmaker Elizabeth A. Povinelli will join us to discuss a program of her films. Her writing has focused on developing a critical theory of late settler liberalism that would support an anthropology of the otherwise. This potential theory has unfolded across five books\, numerous essays\, and thirty-five years of collaboration with her Indigenous colleagues in north Australia\, including\, most recently\, six films they have created as members of the Karrabing Film Collective. Ahead of her visit\, we will watch The Inheritance and Day in the Life. \nThe Inheritance Alice Henry Ink\, 2021\, 80 min.\nIn the late 1960s and early 1970s\, little Elizabeth Povinelli struggles to understand the meanings of her Alpine inheritance hidden in the rich-hued ridges of a framed image hanging in her family’s home and expressed in the sudden flashes of anger and deep pockets of melancholia that pool round it\, only to discover the source of her inheritance is not in the past but in the present racial and colonial infrastructures that surround her in the US. \nDay in the Life Karrabing Film Collective\, 2020\, 32 min.\nDay in the Life explores the ordinary obstacles Indigenous families face as they move through an ordinary day. Across five chapters–Breakfast\, Playtime\, Lunch Break\, Cocktail Hour\, and Dinner Time–and an audioscape directed by its younger members\, DIL is a visual and sonic landscape that dramatizes and satirizes the settler forms of governance and extractive capitalism that Karrabing members encounter over the course of a day. \nThis event will be presented remotely over Zoom. The FSC will circulate links to the films in advance to watch on our own\, and then we will get together online to have a conversation about the work. We have limited capacity regarding the number of participants we can accommodate\, so if you are interested in attending (and are not currently an FSC fellow or CMP student)\, please email Cozette Russell at cerussell@fas.harvard.edu.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-elizabeth-povinelli/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/01/Frameworks-Acolyte_Karrabing-Film-Collective_Day-in-the-Life_5.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210427T173000
DTEND;TZID=UTC:20210427T190000
DTSTAMP:20210127T214357Z
CREATED:20210121T234020Z
LAST-MODIFIED:20210127T214357Z
UID:18721-1619544600-1619550000@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Ephraim Asili
DESCRIPTION:Ephraim Asili will be discussing his most recent work\, the acclaimed feature The Inheritance\, as well as the short Many Thousands Gone. \nEphraim Asili is a Filmmaker\, DJ\, and Traveler whose work focuses on the African diaspora as a cultural force. His films have screened in festivals and venues all over the world\, including the New York Film Festival\, NY; Toronto International Film Festival\, Canada; Ann Arbor Film Festival\, MI; San Francisco International Film Festival\, CA; Milano Film Festival\, Italy; International Film Festival Rotterdam\, Netherlands; MoMA PS1\, NY; LAMOCA\, CA; Museum of Fine Arts\, Boston\, MA; and the Whitney Museum\, NY. As a DJ\, Asili can be heard on his radio program In The Cut on WGXC\, or live at his monthly dance party Botanica. Asili currently resides in Hudson\, NY\, and is a Professor in the Film and Electronic Arts Department at Bard College. (Video Data Bank) \nThis spring\, the FSC will be hosting (remotely) a series of visiting filmmakers as part of our Nonfiction Workshop. Invited filmmakers will circulate links to their films in advance so that we can watch them on our own\, and we will get together as a group to have a conversation about their work. As many of these works are in progress or yet to be released theatrically\, we have limited capacity in terms of the number of participants we are able to accommodate. If you are interested in attending (and are not currently a FSC fellow or CMP student)\, please email Cozette Russell.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-ephraim-asili/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/01/Ephraim_Asili_2020.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210323T160000
DTEND;TZID=UTC:20210323T173000
DTSTAMP:20210323T184708Z
CREATED:20210121T234020Z
LAST-MODIFIED:20210323T184708Z
UID:18727-1616515200-1616520600@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Eduardo Williams
DESCRIPTION:The 2021 recipient of the FSC Fulton Fellowship\, Eduardo “Teddy” Williams will be joining us to discuss his feature\, The Human Surge\, as well as a curated program of shorts\, including his latest work\, Parsi. \nEduardo Williams (b. 1987\, Argentina) studied at the Universidad del Cine in Buenos Aires\, before joining Le Fresnoy – Studio national des arts contemporains in France in 2012. Williams’ shorts films Pude ver un puma (2011) and Que je tombe tout le temps? (2013) premiered at Cinéfondation and Director’s Fortnight at Cannes Film Festival\, followed by Tôi quên rồi! (2014) which had it’s premiere at FID Marseille. His first feature\, El auge del humano (2016)\, won the Pardo d’oro for Best Film at Filmmakers of the Present at the 69th Locarno Film Festival and was later shown at Toronto International Film Festival – Wavelengths\, New York Film Festival – Projections\, Tate Modern and other festivals. In 2016 he directed Allons-y! (45’) for the Festival de l’image en mouvement Hors Pistes at Centre Pompidou. In 2019 he received the Lincoln Center Award for Emerging Artists. His last short film Parsi (2018) was produced by the Centre d’Art Contemporain Genève for the Biennale de l’image en Mouvement 2018 and premiered at Berlinale – Forum Expanded\, it was shown at Tate Modern\, Julia Stoscheck Collection\, Lincoln Center and other festivals and museums. \nThis spring\, the FSC will be hosting (remotely) a series of visiting filmmakers as part of our Nonfiction Workshop. Invited filmmakers will circulate links to their films in advance so that we can watch them on our own\, and we will get together as a group to have a conversation about their work. As many of these works are in progress or yet to be released theatrically\, we have limited capacity in terms of the number of participants we are able to accommodate. If you are interested in attending (and are not currently a FSC fellow or CMP student)\, please email Cozette Russell.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-eduardo-williams/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/01/V19parsi01.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210223T173000
DTEND;TZID=UTC:20210223T190000
DTSTAMP:20210127T214752Z
CREATED:20210121T234020Z
LAST-MODIFIED:20210127T214752Z
UID:18723-1614101400-1614106800@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Beatriz Santiago Muñoz
DESCRIPTION:Puerto Rican filmmaker Beatriz Santiago Muñoz will join us to discuss a program of her films. In her work in film and video\, “the uncontrived\, observational style of her art aligns it with the sensibility of documentary film while also blurring the boundaries between fact and fiction. Despite its ostensible simplicity\, Santiago Muñoz’s work stems from intensive research\, observation\, and documentation\, and she is deeply concerned with the tension between the documentarian’s desire for truth and the artist’s aesthetic concerns. For her\, the camera as a tool that can both reveal and fabricate reality.” (Guggenheim) \nBeatriz Santiago Muñoz is an artist whose expanded moving image work is entangled with Boalian theater\, experimental ethnography and expanded cinema. She tends to work with non-actors\, and incorporate improvisation into her process. Her recent work is on the sensorial unconscious of anti-colonial movements\, on hurricanes and dreamwork\, and irrational projection lenses. Recent solo exhibitions include: Gosila\, Der Tank\, Basel; Nuevos Materiales\, Museo Amparo; Safehouse\, Sullivan Galleries\, A Universe of Fragile Mirrors\, PAMM\, Miami; Song Strategy Sign\, New Museum; La Cabeza Mató a Todos\, TEORética\, San José\, Costa Rica; MATRULLA\, Sala de Arte Público Siqueiros\, México D.F. Recent group exhibitions include: Whitney Biennial 2017\, NYC; Prospect 4\, New Orleans; 8th Contour Biennale\, Mechelen. Under the Same Sun: Art from Latin America Today\, Guggenheim Museum\, NYC. In 2017 she received the Tiffany Comfort Foundation Grant\, she was 2016 USA Ford Fellow and received a 2015 Creative Capital visual artist grant. \nThis spring\, the FSC will be hosting (remotely) a series of visiting filmmakers as part of our Nonfiction Workshop. Invited filmmakers will circulate links to their films in advance so that we can watch them on our own\, and we will get together as a group to have a conversation about their work. As many of these works are in progress or yet to be released theatrically\, we have limited capacity in terms of the number of participants we are able to accommodate. If you are interested in attending (and are not currently a FSC fellow or CMP student)\, please email Cozette Russell.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-beatriz-santiago-munoz/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/01/Munoz-thumb.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210202T173000
DTEND;TZID=UTC:20210202T190000
DTSTAMP:20210126T050358Z
CREATED:20210121T234020Z
LAST-MODIFIED:20210126T050358Z
UID:18695-1612287000-1612292400@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Ernst Karel and Veronika Kusumaryati
DESCRIPTION:The FSC is excited to kick off the spring semester of Nonfiction Workshops with a project and makers deeply connected to the history of the FSC: Ernst Karel and Veronika Kusumaryati will be with us to discuss their film/sound work Expedition Content. \nExpedition Content\n2020\, DCP\, 78 minutes \nIn 1961\, filmmaker Robert Gardner organized the Harvard Peabody Expedition to Netherlands New Guinea (current day West Papua). Funded by the Dutch colonial government and private donations\, and consisting of several of the wealthiest members of American society wielding 16mm film cameras\, still photographic cameras\, reel-to-reel tape recorders\, and a microphone\, the expedition settled for five months in the Baliem Valley\, among the Hubula (also known as Dani) people. It resulted in Gardner’s highly influential film Dead Birds\, two books of photographs\, Peter Matthiessen’s book Under the Mountain Wall\, and two ethnographic monographs. Michael Rockefeller\, a fourth-generation member of the Rockefeller (Standard Oil) family\, was tasked with taking pictures and recording sound in and around the Hubula world. Expedition Content is an augmented sound work composed from the archive’s 37 hours of tape which document the strange encounter between the expedition and the Hubula people. The piece reflects on intertwined and complex historical moments in the development of approaches to multimodal anthropology\, in the lives of the Hubula and of Michael\, and in the ongoing history of colonialism in West Papua. \nThis spring\, the FSC will be hosting (remotely) a series of visiting filmmakers as part of our Nonfiction Workshop. Invited filmmakers will circulate links to their films in advance so that we can watch them on our own\, and we will get together as a group to have a conversation about their work. As many of these works are in progress or yet to be released theatrically\, we have limited capacity in terms of the number of participants we are able to accommodate. If you are interested in attending (and are not currently a FSC fellow or CMP student)\, please email Cozette Russell.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-ernst-karel-and-veronika-kusumaryati/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/EC-16x9-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20201110T113000
DTEND;TZID=UTC:20201110T130000
DTSTAMP:20210106T211851Z
CREATED:20190910T224020Z
LAST-MODIFIED:20210106T211851Z
UID:18076-1605007800-1605013200@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Hassen Ferhani
DESCRIPTION:Hassen Ferhani was born in Algiers in 1986. In 2006\, he directed his first film Les Baies d’Alger. He took part in l’Université d’été at La Fémis and co-directed Afric Hotel (2011). Later on\, he made Tarzan\, Don Quichotte et nous (2013)\, which was presented at Visions du Réel\, FIDMarseille and Locarno\, and which had already reflected his interest in documentary bordering on fiction. Roundabout in My Head (2015)\, shot in slaugtherhouses in Algiers\, was his first feature. In 2015 he was awarded a McMillan-Stewart Fellowship in Distinguished Filmmaking from the Film Study Center. \n143 rue du désert (2019)\n104 min. \nPreviously\, a slaughterhouse opened up the heart of Algiers to the world (Roundabout in My Head\, 2015). Now\, the manager of a small shop in the Sahara offers a place of peace − though maybe not an oasis\, what with the sand wiping out even the colors in this documentary Western. A closed off chamber\, an observation spot or a theater stage: such is the versatility of a filmmaking device that Ferhani – and therein lies his talent − never seems to be satisfied with\, always being ready to embrace the unexpected. – Antoine Thirion\, Locarno Film Festival\, Concorso Cineasti del presente. \nThis Fall\, the FSC will be hosting (remotely) a series of visiting filmmakers as part of our Nonfiction Workshop. Invited filmmakers will circulate links to their films in advance so that we can watch them on our own\, and we will get together as a group to have a conversation about their work. As many of these works are in progress or yet to be released theatrically\, we have limited capacity in terms of the number of participants we are able to accommodate. If you are interested in attending (and are not currently a FSC fellow)\, please email Cozette Russell \n 
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-hassen-ferhani-2/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/Still-from-143-rue-du-desert.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20201027T173000
DTEND;TZID=UTC:20201027T190000
DTSTAMP:20201201T233950Z
CREATED:20190910T224020Z
LAST-MODIFIED:20201201T233950Z
UID:18073-1603819800-1603825200@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Maya Da-Rin and Felippe Mussel
DESCRIPTION:Maya Da-Rin is a filmmaker and visual artist. Born in 1979 in Rio de Janeiro\, she studied Design and Philosophy of Art at the Rio de Janeiro Pontifical Catholic University as well as attended film workshops at the Cuban Film School. In 2010 she enrolled the Cinema and Visual Arts’ program of Le Fresnoy (France)\, where she graduated with honors. In 2013 she was an artist in residence at the LABoral Art Center\, in Spain\, and in 2016 she completed the master’s degree in Cinema and Art History at Sorbonne Nouvelle. Her work has been shown and awarded at film festivals and art institutions such as Locarno\, DokLeipzig\, Toulouse\, Guadalajara\, São Paulo Art Biennial\, MoMA and New Museum NY. Her first feature film\, The Fever\, selected at the Cinéfondation residence (Cannes)\, Script&Pitch and FrameWork (TorinoFilmLab) and was awarded by the Hubert Bals Fund for script and development (Rotterdam). \nThe Fever (2019)\n98 min.\nwith Felippe Mussel\, sound director of The Fever \nManaus is an industrial city surrounded by the Amazon rainforest. Justino\, a 45 years old Desana native\, works as a security guard at the cargo port. Since the death of his wife\, his main company is his youngest daughter with whom he lives in a modest house on the outskirts of town. Nurse at a health clinic\, Vanessa is accepted to study medicine in Brasilia and will need to be leaving soon. \nAs the days go by\, Justino is overcome by a strong fever. During the night\, a mysterious creature follows his footsteps. During the day\, he fights to stay awake at work. But soon the tedious routine of the harbor is broken by the arrival of a new guard. Meanwhile\, his brother’s visit makes Justino remember the life in the forest\, from where he left twenty years ago. Between the oppression of the city and the distance of his native village\, Justino can no longer endure an existence without place. \nThis Fall\, the FSC will be hosting (remotely) a series of visiting filmmakers as part of our Nonfiction Workshop. Invited filmmakers will circulate links to their films in advance so that we can watch them on our own\, and we will get together as a group to have a conversation about their work. As many of these works are in progress or yet to be released theatrically\, we have limited capacity in terms of the number of participants we are able to accommodate. If you are interested in attending (and are not currently a FSC fellow)\, please email Cozette Russell.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-maya-da-rin-and-felippe-mussel/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/Still-from-The-Fever.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20201022T150000
DTEND;TZID=UTC:20201022T163000
DTSTAMP:20201201T232715Z
CREATED:20190910T224020Z
LAST-MODIFIED:20201201T232715Z
UID:18069-1603378800-1603384200@filmstudycenter.fas.harvard.edu
SUMMARY:Workshop: Distribution as Praxis: Conversation and Brainstorming with Sentient.Art.Film’s Keisha Knight
DESCRIPTION:The reverberations of the “Men and Nations” style of knowledge-making privileges systems of extraction and erasure. In focusing only on the genius of the artist and the artist’s art object we often neglect the channels that allow visions to flow\, or not flow\, as the case may be. We need artists with vision to continue to push us to imagine and feel more than we think possible but we also need channel-makers and channel-tenders who clear the weeds and create the relational networks that circulate and nurture the artists’ work in ways that challenge inherited systems of extraction with an aim to create more just and robust environments for artists\, subjects\, and the public. Imagination is power and needs the proper support to fully realize its collective potential. \nThrough personal anecdotes\, case studies\, and group discussion this workshop will explore distribution as a means through which to renegotiate fossilized systems of extractive exchange. We will discuss the nuts-and-bolts realities of the film distribution landscape as it currently exists and think together about what transformative interventions are possible. \nKeisha Nicole Knight is a graduate student in Art\, Film\, and Visual Studies and Director of Sentient.Art.Film a collectively and curatorially focused distribution initiative committed to expanding the field of the cinematic imagination. Sentient.Art.Film was founded in 2018 and has worked with films such as “August at Akiko’s\,” “No Data Plan\,” “Island of the Hungry Ghosts\,” “In My Blood It Runs\,” and “So Pretty.” \nThis workshop is limited to 20. Priority is given to CMP students and FSC fellows. Kindly RSVP and a Zoom link will be sent before the event. \n 
URL:https://filmstudycenter.fas.harvard.edu/event/workshop-distribution-as-praxis-conversation-and-brainstorming-with-sentient-art-films-keisha-knight/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/Distribution-Workshop-image-16x9-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20201013T173000
DTEND;TZID=UTC:20201013T193000
DTSTAMP:20201201T231958Z
CREATED:20190910T224020Z
LAST-MODIFIED:20201201T231958Z
UID:18066-1602610200-1602617400@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Indigenous Cinemas in Brazil: Concepts and Effects of Self-Representation
DESCRIPTION:Filmmakers Patricia Ferreira and Alberto Alvares Guarani\, and the writer and indigenous leader Ailton Krenak\, will be joining us at the FSC for the screening and discussion “Indigenous Cinemas in Brazil\,” programmed by Junia Torres. \nJunia Torres (film programmer\, coordinator for forumdoc.bh) will present a program of films by indigenous filmmakers\, focusing on Brazil. Joining Torres will be a panel including filmmakers Patricia Ferreira and Alberto Alvares Guarani\, and the writer and indigenous leader Ailton Krenak. \nThis program will explore the concept and the effects of self-representation through films by indigenous filmmakers. We will discuss a filmmaking history that spans more than three decades\, focusing on how the introduction and appropriation of cinematic language across different ethnicities supported the struggle of indigenous peoples to strengthen their identities and their territorial and cultural patrimony\, through a form of production that was shared by the diverse indigenous peoples. Today\, most indigenous filmmakers work autonomously\, away from outside structures\, to conceive\, film\, and edit. These filmmakers have reconfigured the contemporary documentary movement in Brazil. (Junia Torres) \nCo-sponsored with the Center for Visual Anthropology at the University of Southern California. \nThis Fall\, the FSC will be hosting (remotely) a series of visiting filmmakers as part of our Nonfiction Workshop. Invited filmmakers will circulate links to their films in advance so that we can watch them on our own\, and we will get together as a group to have a conversation about their work. As many of these works are in progress or yet to be released theatrically\, we have limited capacity in terms of the number of participants we are able to accommodate. If you are interested in attending this program (and are not currently a FSC fellow)\, please email Cozette Russell by October 9.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-indigenous-cinemas-in-brazil-concepts-and-effects-of-self-representation/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk,Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/Memory-Keepers-2.jpg
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