Visiting Filmmakers Lecture Series

2013 Fall Lecture Series

Taking place on five Thursday evenings between September 19 and November 14, 2013, the series will feature presentations by internationally recognized filmmakers, digital artists and curators that address a wide range of contemporary practices in cinema, installation and digital art. Each will present and discuss their work with regard to the relationship between the moving image and contemporary art, each investigating in a unique way the evolving concept of the ‘cinematic’.

Curated and produced by FMA Professor Rodney Evans, the series is free and open to the public and will take place on Thursdays from 5:10 to 7:30pm, in Room 201 of Annenberg Hall on Temple University’s Main Campus.

Terence Nance,
Sep 19th, 5:10pm
Room 201, Annenberg Hall

Terence Nance

Terence Nance is an artist born and raised in Dallas, Texas. He comes from a family of actors, photographers, and musicians. Terence began drawing, acting, and writing music as a young child sitting in on his mother’s play rehearsals, and his uncles’ studio sessions. He studied visual art at New York University where he developed his art making practice to include mixed-media installation, music, and film.  His debut feature film AN OVERSIMPLIFICATION OF HER BEAUTY premiered at the 2012 Sundance Film Festival. Terence was recently named one of 20 Directors to watch by the New York Times.  He is currently based in Bedford-Stuyvesant, Brooklyn.

For more information please see the New York Times´article.

Shelly Silver
Oct 10th, 5:10pm
Room 201, Annenberg Hall


Shelly Silver is a New York based artist utilizing video, film and photography. Her work explores contested territories between public and private, narrative and documentary. She has been exhibited widely throughout the US, Europe and Asia at venues such as MoMA, the ICP, MoCA, The Yokohama Museum, The Pompidou Center, The Kyoto Museum, the London ICA,  and the London, Singapore, New York, Moscow and Berlin Film Festivals. Silver has received numerous fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, and the Jerome Foundation. Broadcasts include BBC/England, PBS/USA, Arte/Germany, RTE/Ireland and SWR/Germany. Her latest feature TOUCH premiered at the 2013 International Film Festival Rotterdam.

Silver is an associate professor in Visual Arts at Columbia University.

Leslie Thornton
Oct 24th, 5:10pm
Room 201, Annenberg Hall

Peggye and Fred2

Leslie Thornton is an acknowledged pioneer in media whose early works first addressed the interplay between cinema, video, installation and improvisation in a manner that prefigured many contemporary media strategies. Best known for her 26 year long serial PEGGY AND FRED IN HELL, she has exhibited worldwide at institutions such as the Museum of Modern Art, the Whitney Museum, Centre Pompidou, the Tate Modern, PS.1, and many others. Her numerous prizes and accolades, including the Maya Deren Lifetime Achievement Award, three Rockefeller Fellowships, the first Alpert Award in the Arts for Media. As a teacher at Brown University, Thornton has been instrumental in building one of the most progressive media arts programs in the United States, and has influenced a whole generation of younger artists. She is represented by Winkleman Gallery in Chelsea, New York and is in the permanent collections of MOMA, NY, Jeu de paume and Centre Pompidou among others. She has had retrospectives at MOMA, Anthology Film Archives and the San Francisco Cinematheque.

Tanya Hamilton
Oct 31st, 5:10pm
Room 201, Annenberg Hall


Tanya Hamilton holds a BFA in Painting from Cooper Union and an MFA in Film Directing and Screenwriting from Columbia University. Her short film, THE KILLERS, won the Best Short Film Award at the 1997 Berlin International Film Festival. She developed her feature length debut, NIGHT CATCHES US, at the Sundance Writing and Directing Labs. The film featured Anthony Mackie and Kerry Washington in the lead roles and premiered in the Dramatic Competition at the 2010 Sundance Film Festival. It was released theatrically in the U.S. by Magnolia Pictures. Hamilton wrote and directed the recent short film GOOD COUNTRY PEOPLE for the Through Her Lens series funded by ITVS. She is currently based in Philadelphia and teaches screenwriting at Temple University.

Lauren Wolkstein
Nov 14th, 5:10pm
Room 201, Annenberg Hall


Lauren Wolkstein is an award-winning filmmaker who received her MFA in film directing from Columbia University’s graduate film program and a BA in computer science and film from Duke University. Her most recent short film, SOCIAL BUTTERFLY, premiered at the 2013 Sundance Film Festival. Her MFA thesis film CIGARETTE CANDY won Best Narrative Short at the SXSW Film Festival in 2010. Wolkstein was named one of the top twenty-five emerging filmmakers through The Film Society of Lincoln Center and the IFP’s inaugural Emerging Visions program at the 2011 New York Film Festival. In the summer of 2013, Filmmaker Magazine named her as one of the “25 New Faces of Independent Film,” an annual selection of artists who will be shaping the independent film world in the future.

For more information, please see The Filmmaker Magazine.

2013 Spring Lecture Series

Curated by FMA Professor Elisabeth Subrin and produced by the graduate students in her MFA Colloquium class.

Ed Halter
Feb 13th, 5:45pm
Room 3, Annenberg Hall

Ed Halter is a critic, curator and a founder and director of Light Industry, a venue for film and electronic art in Brooklyn, New York. Halter co-curated the film/video program for the 2012 Whitney Biennial and teaches at Bard College.

Amanda Trager and Erik Moskowitz
Feb 20th, 5:45pm
Room 3, Annenberg Hall

Moskowitz/Tragerʼs conceptual video works inhabit ideas about collectivities and self- determination, featuring characters whose voices have been replaced by dubbed singing. Their newest work will premiere at the 2013 Rotterdam International Film Festival, and at the Centre Pompidou in Paris.

Marina Zurkow
Feb 27th, 5:45pm
Room 3, Annenberg Hall

Zurkowʼs media works examine humansʼ relationships to animals, plants and the weather, taking the form of video and software-driven animation, sculpture, and participatory public art projects. A 2011 Guggenheim Fellow, Zurkow teaches in the Interactive Telecommunications Program at NYU.

Tim Portlock
Mar 6th, 5:45pm
Room 3, Annenberg Hall

Tim Portlockʼs current work is created using 3D gaming technology to investigate the social and economic impact of Americaʼs rapid de-industrialization, such as foreclosures in Philadelphia or arrested building constructions in Los Vegas. He is a 2011 Pew Fellow and a professor of film and media studies at Hunter College and exhibits widely.

Chris Marker
Mar 15th-16th, 5:00pm
Slought Foundation

A 2-day symposium celebrating one of the most prolific and inventive media artists in the history of cinema. Co-sponsored by Temple University and University of Pennsylvania, featured speakers include Agnes Varda, Raymond Bellour, Bill Horrigan, Hito Steryl, Nora Alter, Lynn Sachs and others.

For more information, please see the Slought Foundation.

Neil Goldberg
Mar 20th, 5:45pm
Room 3, Annenberg Hall

Goldbergʼs celebrated 2012 exhibition at The Museum of the City of New York presents video installations and photographs that capture the unexpected power and resonance of everyday moments. He has also exhibited at The Museum of Modern Art, The Hammer Museum, The Jewish Museum, and The New Museum of Contemporary Art, among others.

Matt Wolf
Apr 3rd, 5:45pm
Room 3, Annenberg Hall

Matt Wolf is a documentary filmmaker, whose work includes the award-winning, theatrically released Wild Combination, about the avant-garde cellist and disco producer Arthur Russell. A 2010 Guggenheim Fellow, Wolf just completed Teenage, a doc/fiction historical essay about the invention of teenagers and the pre-history of youth culture.

So Yong Kim
Apr 10th, 5:45pm
Room 3, Annenberg Hall

So Yong Kim is an award-winning writer, director and producer. In Between Days won the Special Jury Prize at Sundance and Treeless Mountain won awards at the Berlin, Dubai and Pusan International Film Festivals. For Ellen, starring Paul Dano, was released theatrically this past fall, premiering at the Sundance and Berlin International Film Festivals.

Sandra Gibson and Luis Recoder
Apr 17th, 5:45pm
Room 3, Annenberg Hall

Gibson and Recoder 16mm projector performances and installations unite the rich traditions of the experimental film, particularly its structuralist and materialist strands, and the multi-modal sensibility of expanded cinema that emerged in the 1960s. Their work has been exhibited at The Whitney Biennial, Pacific Film Archives, The Sundance Film Festival and the Toronto International Film Festival, as well as museums internationally.

2012 Fall Lecture Series

Alan Oxman
Media Arts I, Rodney Evans
Sep 26th, 1pm
Room 13, Gladfelter Hall

Alan Oxman’s editing credits include WELCOME TO THE DOLLHOUSE (Grand Jury Prize, Sundance Film Festival), HAPPINESS (International Critic’s Award, Cannes Film Festival) and STORYTELLING (Cannes Film Festival). He also co-edited UNZIPPED (Audience Award, Sundance Film Festival) which won the A.C.E. Award for Best Documentary Editing. Alan won two Emmy Awards for Outstanding Documentary Editing on the PBS series CITY LIFE. He co-produced the documentary films CHILDREN UNDERGROUND (Oscar Nomination 2002 & Special Jury Prize, Sundance Film Festival) and CONTROL ROOM (Grand Jury Prize, Full Frame Film Festival). NO END IN SIGHT, on which Alan was a consulting editor, won the Special Jury prize at the 2007 Sundance Film Festival and was nominated for an Academy Award in 2008. As a Producer, Alan’s recent credits include A MATTER OF TASTE which screened on HBO and was nominated for an Emmy Award and PAGE ONE: INSIDE THE NEW YORK TIMES which was distributed by Magnolia Films and was nominated for an Emmy Award. Alan Oxman served as post-production supervisor on INSIDE JOB (Oscar Nominee, Best Documentary 2011) and producer on HOT COFFEE (Sundance 2011, Official Competition).

Adorno’s Grey and other Refusals:
Hito Steyerl in Conversation with Nora M. Alter
Oct 9th, 6:30-8pm
Slought Foundation

A public conversation with filmmaker and writer Hito Steyerl will be held by Slought Foundation, in dialogue with film scholar, Chair and Professor of Film and Media Arts (FMA), Temple University, Nora Alter, on Tuesday, October 9, 2012 from 6:30-8:00pm . The conversation will be preceded by a special screening of Hito Steyerl’s Adorno’s Grey (approx. 14 min). The program is presented in conjunction with Temple University’s Department of FMA.

“In her works, Hito reflects upon the role of traveling images, those images, that crowd the realms of suburbs and the lowlands of the web. Images that change their meaning, outlook, framing, caption and often also their protagonists by traveling through time and space. She put some interesting questions like: Which role do digital modes of communication play in creating new political and aesthetical articulations? How do they accelerate, slow down or modify conflict, civil war and the writing of history? How are media – video or audio tapes, jpegs or posters – implicated in violence? How does the struggle over copyright and reproduction- over making things seen and heard – factor into these considerations? And is a withdrawal from representation perhaps a new form of strike or refusal?” (Rabih Mroue).

About the screening of Adorno’s Grey

Legend has it that Theodor W. Adorno had the auditorium where he taught at the Goethe-Universität in Frankfurt painted grey to aid concentration. In Adorno’s Grey, a team of conservators burrows into the wall of this auditorium hoping to reveal the layer of grey paint beneath it. A voiceover recounts an incident in 1969 when, after three female students approached and bore their breasts to him during a lecture, Adorno collected his papers and ran away in a panic. This would be his last lecture.

Hito Steyerl is a filmmaker and writer based in Berlin. She teaches artistic media practice at the University of Arts Berlin. Her latest works include: The Kiss2012, Adorno’s Grey 2012, The Body of the Image 2012 (performance), Abstract 2012, Guards 2012 as well as the lectures Probable Title: Zero Probability(2012) with Rabih Mroué and I dreamed a dream (2012).

Nora M. Alter is Chair and Professor of Film and Media arts, Temple University, and the author of Chris Marker.

Bradford Young
Media Arts I, Rodney Evans
Nov 7th, 1pm
Room 13, Gladfelter Hall

Bradford Young is the recipient of the Best Cinematography Award at the 2011 Sundance Film Festival for his work on the feature film PARIAH, directed by Dee Rees. His other cinematography credits include MIDDLE OF NOWHERE (Best Director – Sundance 2012) directed by Ava Duvernay, RESTLESS CITY (Sundance 2011) directed by Andrew Dosunmu and ENTRE NOS (Tribeca Film Festival 2010) directed by Paola Mendoza. He recently completed principal photography on AIN’T THEM BODIES SAINTS directed by David Lowery and starring Rooney Mara, Casey Affleck and Ben Foster. Young was raised in Louisville, Kentucky and holds an MFA from the Department of Radio, Television and Film at Howard University. Click here to see his profile on recent New York Times Arts and Leisure.

Paul Mezey
Media Arts I, Rodney Evans
Nov 28th, 1pm
Room 13, Gladfelter Hall

Paul S. Mezey is a New York based independent producer and founder of Journeyman Pictures. He has produced a number of critically acclaimed films including Maria Full of Grace which received a 2005 Academy Award Nomination for Best Actress in a Leading Role and Half Nelson starring Ryan Gosling which received a 2007 Academy Award Nomination for Best Actor in a Leading Role.
Mezey produced Azazel Jacobs’ Momma’s Man which premiered alongside Sugar at the 2008 Sundance Film Festival. He recently wrapped production on the film Cold Souls starring Paul Giamatti, Emily Watson, and David Strathairn. Projects currently in development include David Riker’s The Girl starring Emily Blunt and Joshua Marston’s upcoming feature The Fortress of Solitude, based on Jonathan Lethem’s National Bestseller.
Other films produced by Mezey include: Angel Rodriguez (HBO Films), Everyday People (HBO Films), Spring Forward (IFC Films), Our Song (IFC Films), The City (La Ciudad) directed by David Riker, Mississippi Blues documentary You See Me Laughin’ directed by Mandy Stein, and The Ballad of Ramblin’ Jack directed by Aiyana Elliott, winner of the Artistic Achievement Award for documentary film at the 2000 Sundance Film Festival. Mezey received the IFP/West Motorola Producer’s Award at the Independent Spirit Awards in 2001 and was selected by Variety in 2004 as one of the “Ten Producers to Watch”.


2012 Spring Lecture Series

David E. James
Twenty-nine Pictures Like That: The Elvis Movie
February 3rd, 5pm
231 Fisher-Bennett Hall, Univ. of Pennsylvania

Elvis PresleyPhiladelphia Cinema and Media Seminar event

The talk will overview Elvis Presley’s film career, including its punctuation by television, and examine the changes in its relation to the social meaning of rock’n’roll in the fifties and sixties. It will pay particular attention to the — usually reviled– movies he made in the 1960s after his return from the army, approaching them as a distinct genre.

David E. James is on the faculty of the School of Cinematic Arts at the University of Southern California. He is the author of Written Within and Without: A Study of Blake’s Milton (Frankfurt: Peter Lang, 1977), Allegories of Cinema: American Film in the Sixties (Princeton University Press, 1989), Power Misses: Essays Across (Un)Popular Culture (London: Verso Books, 1996), and The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles (University of California Press, 2006), and over 100 articles and reviews in PMLA, October, Social Text, Representations, Film Quarterly, the minnesota review, Grey Room, and other journals and periodicals. His teaching and research interests currently focus on avant-garde cinema, culture in Los Angeles, East-Asian cinema, film and music, and working-class culture. In 2011-2012 he is the Ailsa Mellon Bruce Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, D.C.

Lisa Gitelman (New York University)
“Network Returns”
Friday, February 24, 4p.m.
room 420, Temple University Center City (TUCC)

Network Returns is a preliminary work-in-progress aimed at network archeologies. It offers two different episodes in the history of self-addressing.

Lisa Gitelman is associate professor of English and of Media, Culture, and Communication at NYU. She works on media history and textual media. She is the author of Always Already New: Media, History, and the Data of Culture (MIT Press 2006) and Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era (Stanford University Press, 2000), as well as editor, with Geoffrey B. Pingree, of New Media 1740-1915 (MIT 2004). Current projects include a monograph, “Making Knowledge with Paper,” and an edited collection,”‘Raw Data’ Is an Oxymoron.” She holds a Ph.D. in English from Columbia University and is a former editor of the Thomas A. Edison Papers at Rutgers University.

With the support of the Center for Humanities at Temple, the University of Pennsylvania Cinema Studies, and Bryn Mawr’s Film Studies Program.

Patrick Keating (Trinity University)
“Illuminated Space: Electricity, Modernity, and Film Noir”
March 16, 5:00 p.m.
room 420, Temple University Center City (TUCC)

With the support of the Center for Humanities at Temple, the University of Pennsylvania Cinema Studies, and Bryn Mawr’s Film Studies Program.

Although film noir is famous for its shadows, the style offers a remarkably wide range of lighting effects. In some noirs, the flatly lit office building is just as important as the dimly lit alley, and the warm glow of the living room can be just as fateful as the darkened hallway. This talk reconsiders noir lighting in films such as Call Northside 777, The Asphalt Jungle, and The Sweet Smell of Success. In particular, Keating proposes that an important context for noir lighting is the increasing industrialization of electric light during the middle decades of the twentieth century. Just as the electricity industry was developing a narrative of progress to both explain and promote the expansion of light over these years, the film noir was using a combination of lights and shadows to describe and criticize that expansion.

Patrick Keating is an assistant professor of Communication at Trinity University in San Antonio, where he teaches courses in film studies and video production. He is the author of Hollywood Lighting From the Silent Era to Film Noir, published by Columbia University Press, which was selected by the Society of Cinema and Media Studies (SCMS) as the Best First Book in 2011. Recently, he was awarded an Academy Film Scholars grant to support his research on the relationship between camera movement and the representation of modern spaces in Hollywood cinema.

Niki Akhavan (Catholic University of America)
“War Cultures and Culture Wars: Media, State, and Power in Iran”
April 26, 5:00 p.m.
room 308, Temple University Center City (TUCC)

With the support of the Center for Humanities at Temple, the University of Pennsylvania Cinema Studies, and Bryn Mawr’s Film Studies Program.

While the Iranian state’s repressive responses to its critics have been well documented, its concomitant engagement in a series of culture wars requires further investigation. Whether in dealing with internal power struggles, domestic and diasporic opposition, or perceived foreign enemies, the state has relied on various forms of media to mobilize and influence cultural production. Focusing on its role as media user and cultural producer, this lecture highlights the state’s promotion of a particular war culture that thrives on memorializing past conflicts and anticipating future confrontations.

Niki Akhavan is Assistant Professor of Media Studies at Catholic University of America. Her research interests include: new media and transnational political and cultural production; international cinema and national identity; state sponsored and oppositional propaganda; documentary and social change; post-colonial and critical theory; Iranian cultural studies.

2011 Fall Lecture Series

Kevin Jerome Everson
Materials, Process, Procedure and Subject
September 22nd, 7-9pm,
Scribe Video Center

Presented in partnership with Film at International House, Philadelphia Independent Film & Media Association (PIFVA), and the Film and Media Arts Department at Temple University and the Africana Studies and Cinema Studies at University of Pennsylvania

Frequently basing a work on archival or found footage, KEVIN JEROME EVERSON “resurrects the conditions, tasks, and gestures of a vital moment in time by repositioning them in the present through a variety of mediums such as photography, film, sculpture, artist books, and paintings.”

Everson’s films combine scripted and documentary moments with rich elements of formalism. His most recent films – shot in single eleven-minute takes on 16mm film – use light flares, over exposed film, and distorted sound to render visible the materiality of film stock and videotape.

Join us for this special presentation in which Everson discusses how he creates his works that document and reflect on the “gestures or tasks caused by certain conditions in the lives of working class African Americans.” Everson will screen a selection of his recent short films. Films courtesy of the artist and Picture Palace Pictures. For more information:

Raymond Bellour & Christa Blümlinger
Film as Study and as archive
September 29th, 6:30 – 8pm,
Slought Foundation

Slought Foundation is pleased to announce an evening with RAYMOND BELLOUR and CHRISTA BLUMLINGER on Thursday, September 29, 2011 from 6:30-8pm at Slought Foundation. Bellour will speak for 30 minutes on “Forty years of stopped images”, followed by Blümlinger on “Archival Gestures,” with a moderated conversation to follow. This program has been organized by Nora Alter, Professor of Film and Media Arts at Temple University.

A major contributor to contemporary French critical thought, French critic and author Raymond Bellour has advanced the theoretical application of semiotics, psychoanalysis and post-structuralism to the understanding of literary and cinematic texts. His influential textual analysis ranges from readings of 19th-century literature to analysis of classic American cinema, most notably the films of Alfred Hitchcock. Bellour has also written extensively on contemporary video art and curated several major exhibitions, including Passages de l’image at the Centre Georges Pompidou, together with Christine Van Assche and Catherine David in 1990. The first volume of his collected essays on film and video, l’Entre-Image, Photo Cinema, Video, was published in 1990; the second volume, l’Entre-Images 2, Mots, Images, was published in 1999. Professor at the Centre Universitaire Américan de Cinéma in Paris from 1973 to the present, he has also been a visiting professor at New York University and the University of California, Berkeley. He is currently director of research at CNRS. Bellour is also the co-editor of the cinema journal Trafic.

Christa Blümlinger is Professor of Cinema and Video at Universite de Vincennes Saint-Denis (Paris VIII). She has also taught on the Theory and Aesthetics of Film at Universite de la Sourbonne Nouvelle (Paris 3) as well as in Vienna and at the Free University in Berlin. She has curated various film and video programs, and festivals such as Diagonale (Salzburg) and Duisburger Filmwoche (Duisburg). As a critic she has published in magazines such as Trafic, Cinematheque, Parachute, Intermedialites, montage/av,, and Camera Austria. Recent publications include Kino aus Zweiter Hand (2009), and other writings on video, film theory, and film history. She is currently working on an edition of writings by Serge Daney. Her essay, “The Imaginary in the Documentary Image: Chris Marker’s Level Five,” is available online from Image & Narrative, Vol 11, No 1 (2010).

This program is made possible in part through the generous support of the Department of Film and Media Arts at Temple University; the Program in Film Studies at Bryn Mawr College; French Studies in the Department of Romance Languages at the University of Pennsylvania; and the Society of Friends of the Slought Foundation. Admission is FREE; Reservation not required.

Kirsten Johnson – Tuesday, Oct 11th, 1:30-3:10
Filmmaking, Rodney Evans
Tuttleman 301AB

KIRSTEN JOHNSON works as a cinematographer and a director. As a cinematographer, she recently shot the Tribeca Film Festival 2008 Documentary winner, “Pray the Devil Back to Hell” and the Participant Pictures production “Darfur Now”. She received the Best Cinematography Award at the 2010 Sundance Film Festival for her work with Academy Award nominee Laura Poitras on “The Oath”. She has worked with directors such as Raoul Peck, Barbara Kopple, Michael Moore, Gini Reticker, and Kirby Dick. Her cinematography is featured in “Farenheit 9/11”, Academy Award-nominated “Aslyum”, Emmy-winning “Ladies First”, and Sundance premiere documentaries, “This Film is Not Yet Rated”, “American Standoff”, and “Derrida”. A chapter on her work as a cinematographer is featured in the book, “The Art of the Documentary”. Her feature film script “My Habibi” was selected for the 2006 Sundance Writer’s Lab and Director’s Lab and is the recipient of an Annenberg grant. Her previous documentary as a director, “Deadline”, (co-directed with Katy Chevigny), premiered at Sundance in 2004, was broadcast on primetime NBC, and won the Thurgood Marshall Award. She is currently directing a short documentary set in Afghanistan with the support of the Sundance Documentary Fund and the Skoll Foundation.

Sabine Hoffman – Tuesday, Oct 18th, 1:30-3:10
Filmmaking, Rodney Evans
Tuttleman 301AB

SABINE HOFFMAN’s editing credits include Personal Velocity, winner of the Grand Jury Prize and Best Cinematography awards at the 2002 Sundance Film Festival. Her earlier editing credits include Morgan J. Freeman’s Hurricane Streets, which won Best Director, Best Cinematography and the Audience Award at the 1997 Sundance Film Festival and Alex Sichel’s All Over Me which won the Teddy Award for Best Dramatic Feature at the 1997 Berlin Film Festival. Her other editing credits include Brother To Brother (Special Jury Prize-2004 Sundance Film Festival) The Ballad of Jack and Rose starring Daniel Day-Lewis and Off The Black starring Nick Nolte. She recently completed editing on Rebecca Miller’s latest film, The Private Lives of Pippa Lee, starring Robin Wright Penn, Alan Arkin, Julianne Moore and Keanu Reeves.

Tom Kalin – Wednesday, October 19th, 1-2:50pm
Media Arts I, Rea Tajiri, GH13

Award-winning Filmmaker/Director/Producer TOM KALIN will speak in Professor Rea Tajiri’s Media Arts 1 Class on Wednesday, October 19th, 1-2:50pm in room GH13.

Mr. Kalin will discuss his work both in experimental video and narrative feature films, the transitions of his career which spans work with AIDS direct action groups ACTUP and Gran Fury, his museum exhibited experimental video art to narrative-feature director and producer.  He will screen scenes from his most recent feature Savage Grace.  This talk is open to the public and all Temple students and is sponsored by the Film Media Arts Department at Temple University.

From short experimental videos to feature-length narrative films, Tom Kalin’s award winning, critically acclaimed work has been screened throughout the world.   His films and videos are in the permanent collection of the Whitney Museum, the Centre Georges Pompidou and MoMA. His first feature, Swoon, was awarded the Caligari Prize at Berlin, the Fipresci Prize in Stockholm, Best Cinematography at Sundance and the Open Palm at the IFP Gotham Awards.    It was named one of the top 100 American Independent films by the British Film Institute.  His film, Savage Grace, premiered in Cannes, was opening night film in Zurich and screened at festivals including Sundance, Stockholm, London and Tribeca.  It was nominated for an Independent Spirit Award and named one of the top ten films of 2008 by Artforum and Paper.  As a producer his films include I Shot Andy Warhol and Go Fish.  His short videos and installations include They are lost to vision altogether, Third Known NestEvery Wandering Cloud and From Silence.  He is a 2011 Guggenheim Fellow and received awards and fellowships from the Rockefeller Foundation, the Jerome Foundation, the NEA and NYSCA among others.   He has twice been included in the Whitney Biennial and has screened in museums and galleries including ICA, London; Reina Sofia, Madrid; The Cartier Foundation, Paris and The Getty Museum, Los Angeles among many others.  He was a founding member of the AIDS activist collective Gran Fury which was included in the Venice Biennale.  In 1993, fashion designer Geoffrey Beene commissioned Kalin to write and direct a film commemorating his 30th anniversary.  The cast includes Marcia Gay Harden, Russell Wong, Claire Danes and features the final screen appearance of legendary Swedish actress Viveca Lindfors. Kalin is currently collaborating with musician Thomas Bartlett (Doveman) on an evening of live music and film and developing several feature projects.

Roger Beebe – Thursday, Nov. 3, 2011, 6 p.m.
Tyler School of Art, Room B04

Experimental filmmaker Roger Beebe, whose films have shown around the globe from Sundance to the Museum of Modern Art and from McMurdo Station in Antarctica to the CBS Jumbotron in Times Square, brings a program of his recent mutli-projector films to the Northeast for a fall 2011 tour. In these films, Beebe explores the possibilities of using multiple projectors running as many as eight projectors simultaneously not for a free-form VJ-type experience, but for the creation of discrete works of expanded cinema. The show builds from the relatively straightforward two-projector films The Strip Mall Trilogy and TB TX DANCE to the more elaborate three-projector studies Money Changes Everything and AAAAA Motion Picture and finally to the eight-projector meditation on the mysteries of space, Last Light of a Dying Star.

Beebe is a professor of film and media studies at the University of Florida. Beebe has screened his films around the globe with recent solo shows at the School of the Art Institute of Chicago, Anthology Film Archives in New York, and dozens of other venues. He has won numerous awards, including a 2009 Visiting Foreign Artists Grant from the Canada Council for the Arts, a 2006 Individual Artist Grant from the state of Florida, and Best Experimental Film at the 2006 Chicago Underground Film Festival. In addition to his work as a filmmaker, he is also a film programmer: he ran Flicker, a festival of small gauge film in Chapel Hill, N.C., from 1997-2000 and is currently Artistic Director of FLEX, the Florida Experimental Film Festival. He also owns Video Rodeo, an independent video store in Gainesville, Fla.

The Critical Dialogue Series is co-sponsored by the Philosophy Department, the Architecture Department, the Department of Journalism, the Film and Media Arts Department and the Department of Art History.

David Sherman – November 11th, 3pm
Experimental Methods, Roderick Coover
Annenberg Hall, Room 201

Arizona-based filmmaker DAVID SHERMAN will screen his latest film WASTELAND UTOPIAS. The film explores the intersection of two radically different utopian thinkers: mega-developer Del Webb and outsider psychiatrist / naturalist Wilhelm Reich. Each found his way into southern Arizona’s Sonoran Desert in the late 1950s. By juxtaposing these two thinkers—who represent ostensibly opposing visions of a still-undefined future—Sherman asks viewers to consider a multiplicity of perspectives on our endangered natural and social environments.

David Sherman’s work focuses on the perceptual underpinnings of moving image media; his appropriation and collage based experimental films construct hidden histories through the radical play of form and material. Through digital manipulation, cast-off films are reinvented into mazelike tapestries of subconscious desire and distress. For more information about his work:

Nina Rosenblum – November 14, 5:30 PM,
History of Photography, David Freese
Tuttleman Hall Room101

Nina Rosenblum, with her husband Daniel Allentuck,, will be talking about documentary filmmaking, the role of photography in her family, and screening her new film, “This is the Photo League” on Monday, November 14, at 5:30 PM in Tuttleman 101 as part of David Freese’s History of Photography class.

Nina Rosenblum is an Oscar nominated, two time IDA award winning producer, director and writer of documentaries, shorts, and segments. President of Daedalus Productions, Inc., established in 1980, she has produced and directed for TBS, PBS, HBO, NY Times Television, Showtime, ABC, and NBC. She is a member of the Director’s Guild of America (director), the Academy of Motion Picture Arts and Sciences, Women in Film and Television, and the International Documentary Association.

Daniel Allentuck, writer, producer and director, is co-founder of Daedalus Productions, Inc. Son of Maureen Stapleton and Max Allentuck, Dan grew up in theater and film. He received a Chris Award, a Cine Golden Eagle, and a Distinguished Achievement Award from the International Documentary Association.

For over twenty five years, Rosenblum has directed many award winning documentaries including her film “Walter Rosenblum, In Search of Pitt Street” that chronicled the life of her father, Walter Rosenblum, a highly decorated US Army Signal Corps cameraman in World War 2 and a member of The Photo League. Her mother is Naomi Rosenblum author of “A World History of Photography” and “A History of Women Photographers”, which was also the title of a short film that Nina directed to accompany a traveling exhibition curated by her mother.

Following 9/11, doctors at the NYU Downtown Hospital called on her to produce and direct “Code Yellow: Hospital at Ground Zero”, documenting the emergency response of the hospital to that tragic event. In 2005, Rosenblum served on numerous film festival juries including Las Palmas de Gran Canaria International Film and then spent a year in Spain co-producing and directing “Zahira, La Que Florece” with Canal + Spain and Jazzy Productions. The film followed the recovery of a young woman, Zahira, who sustained injuries in the Madrid terrorist bombing.

In 2008, Ms Rosenblum completed “In the Name of Democracy: America’s Conscience, A Soldier’s Sacrifice”, narrated by Eli Wallach and filmed by the acclaimed cinematographer, Haskell Wexler. It tells the story of the first US Army officer to refuse deployment to Iraq on moral grounds.

At the Nov 14 presentation at Tuttleman Hall, she will be screening her most recent film, “This is the Photo League”, about the organization of social documentary photographers in New York City who helped establish the genre of street photography as they photographed areas of the city in the thirties and forties.

2011 Spring Lecture Series

Sam Green – February 2nd, 5:15, 2011, AH3

SAM GREEN is a San Francisco-based documentary filmmaker. His film The Weather Underground was nominated for an Academy Award in 2004, broadcast nationally on PBS, and included in the Whitney Biennial. Green’s most recent documentary Utopia in Four Movements premiered at the 2010 Sundance Film Festival and is currently screening widely. His other films include Utopia Part 3: the World’s Largest Shopping Mall, lot 63, grave c, The Rainbow Man/John 3:16, N-Judah 5:30, and Pie Fight ’69. Green received his master’s degree in journalism from the University of California, Berkeley, where he studied documentary with acclaimed filmmaker Marlon Riggs. He has received grants from the Creative Capital, Rockefeller and Guggenheim Foundations, as well as the National Endowment for the Arts. He is currently an Artist in Residence at the Exploratorium Museum in San Francisco.

Susan Meiselas – February 9th, 1:00, 2011, AH 201

SUSAN MEISELAS, documentary photographer, will be giving a presentation of her work to the graduate seminar in Visual Research and Documentary Methods on Wednesday, February 9, at 1pm in Room 201. A member of Magnum Photos, Meiselas has received prestigious awards such as the Cornell Capa Infinity Award, a MacArthur Fellowship, and Robert Capa Gold Medal for her works in Kurdistan, Nicaragua and elsewhere. Meiselas also traveled with filmmaker Robert Gardner to Papua New Guinea where the ethnographer had once filmed “Dead Birds”. Meiselas’ published works include Kurdistan: In the Shadow of History Random House), Nicaragua, June 1978 – July 1979 (Pantheon), Encounters With the Dani (ICP/Steidl Verlag) and the film, Pictures from a Revolution (New Video Group), among others.

Stan Douglas – February 14th, 2011, 6:30,
Slought Foundation

STAN DOUGLAS was born in 1960 and attended the Emily Carr University of Art and Design in Vancouver. His film and video installations, photography, and work in television address the history of literature, cinema and music, the technical and social aspects of mass media, and modernism in terms of its failures as a theoretical utopian concept and its manifestation in present day urbanism. His work frequently engages in subtle societal criticisms and investigations of authorship and subjectivity, and has often been imbued with tropes associated with Blues and Jazz. They are media machines, Automats of a sort, which involve the viewer in their mechanics; they reflect an era of transition from literally mechanical reproduction to electronic saturation. Douglas’s widely appreciated work has appeared in the 1995 Whitney Biennial and three Venice Biennales; at Documenta 9, 10 and 11; at the Guggenheim Museums in New York and Bilbao; and at the Museums of Modern Art in San Francisco and New York. He has had solo exhibitions at the Dia Foundation for the Arts in New York, The Art Institute of Chicago and the Museum of Contemporary Art in Los Angeles, among others. His work has also been shown in New York at The Studio Museum, Harlem, The Art Institute of Chicago and the Dia Center for the Arts.

Slought Foundation and the Temple University Department of Film and Media Arts are pleased to present artist Stan Douglas in conversation with Diedrich Diederichsen and Nora Alter on Monday, February 14, 2011 from 6:30-8:30pm at Slought Foundation. This program has been organized by Nora Alter, Chair of Film and Media Arts at Temple University. The conversation will engage Douglas’ Vidéo (2007), an audio-visual meditation on Samuel Beckett’s Film (1965), as well as the artist’s more recent public art project Abbott and Cordova (2009), a photo reenactment of the Gastown riot of 1971. The event will begin with a special screening of Vidéo (35 min; 2007).

David Shapiro – February 16th, 2011, 5:15, AH3

DAVID SHAPIRO directed and produced Keep the River on Your Right (IFC) in 2001. Based on Tobias Schneebaum’s book, the film won 17 international film awards and played theatrically around the world. Shapiro went on to win the Independent Spirit Award for Best New Director in 2001. His last film, Finishing Heaven (HBO), was nominated for an Emmy in 2010. As a visual artist, David Shapiro is known for making personal and conceptual work. Solo exhibitions include LiebmanMagnan, Pierogi and PS1. Shapiro has been included in numerous group exhibitions including shows at The Brooklyn Museum, the Norton Museum, MoMA, Art Basel, Miami, The Armory, White Columns, and Socrates Sculpture Park. His work has been acquired by many prominent collections, including the Tate Museum. His work has been reviewed in The New Yorker and The New York Times, Art in America, Flash Art, Art Forum, featured as the cover story in World Art, and profiled by NPR, CNN. Shapiro received a BA from the State University of New York, Albany and a Master of Fine Arts from Hunter College, and lives and works in New York.

Kathryn Ramey – February 23rd, 2011, 5:15, AH3

KATHRYN RAMEY is a filmmaker and anthropologist whose work operates at the intersection of experimental film and socio-cultural research.  She has been the recipient of the Pennsylvania Council on the Arts grant, three LEF New England Moving Image grants, the Social Science Council Research Council on the Arts dissertation fellowship and has been a resident artist at Yaddo Corporation.  Her award winning films have screened at international film festivals including the TriBeCa film festival, the Toronto International Film festival, Ann Arbor Film festival, Black Maria Film festival and L’Alternativa Independent Film Festival of Barcelona among others.  She is an associate professor at Emerson College in Boston.

Ina Archer – March 2nd, 5:15, 2011, AH3

INA ARCHER’s multimedia works and films have been shown nationally including in Cinema Project’s EXPANDED FRAMES: a celebration and examination of critical cinema in Portland, Oregon, “Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970″  at Spelman College Museum of Fine Art, GA., and The Contemporary Art Museum, Houston. Her awards include residences at Vermont Studio Center,  Blue Mountain Centers and Civitella Ranieri in Umbria,  Italy. Ina was a Studio Artist in the Whitney Independent  Study program, a NYFA multidisciplinary Fellow, a 2005 Creative Capital grantee in film and video, and a 2010 nominee for the Anonymous Was A Woman award.  Archer is adjunct faculty in Foundation at Parsons The New School for Design. She is a longtime member of New York Women in Film and Television’s Women’s Film Preservation Fund and a board member of IMAP, Independent Media Arts Preservation. She earned a BFA in Film/Video from RISD and a Master’s in Cinema Studies at NYU focusing on race, preservation, early sound cinema and technology.

Ed Halter – March 23rd, 5:15, 2011, AH3

ED HALTER is a critic and curator living in New York City. His writing has appeared in Artforum, Arthur, The Believer, Cinema Scope, Kunstforum, Millennium Film Journal, Moving Image Source, Rhizome, The Village Voice and elsewhere, and he is a 2009 recipient of the Creative Capital | Warhol Foundation Arts Writers Grant. From 1995 to 2005, he programmed and oversaw the New York Underground Film Festival, and has organized screenings and exhibitions at the Brooklyn Academy of Music, Cinematexas, PS1, Artists Space, Eyebeam, the Flaherty Film Seminar, Participant Inc., and the Museum of Modern Art. He currently teaches in the Film and Electronic Arts department at Bard College, and has lectured at Harvard, NYU, Yale, and other schools as well as at Art in General, Aurora Picture Show, the Foundation for Art and Creative Technology, the Images Festival, the Impakt Festival, and Pacific Film Archive. His book From Sun Tzu to Xbox: War and Video Games was published in 2006. With Andrea Grover, he is currently editing the collection A Microcinema Primer: A Brief History of Small Cinemas. He is a founder and director of Light Industry, a venue for film and electronic art in Brooklyn, New York.

Scott Macaulay – April 6th, 5:15, 2011, AH3

SCOTT MACAULAY is a New York-based producer and the Editor-in-Chief of Filmmaker Magazine, the leading American magazine devoted to independent film. In this position, he directs the magazine’s editorial content, including special features such as its annual “25 New Faces.” With his partner, Robin O’Hara, and their production company, Forensic Films, Macaulay has produced or executive produced many award-winning features. They include: Peter Sollett’s Raising Victor Vargas; Harmony Korine’s Gummo and julien donkey-boy; Alice Wu’s Saving Face; Tom Noonan’s What Happened Was and The Wife; Jesse Peretz’s The Chateau, Bryan Barber’s Idlewild; and James Ponsoldt’s Off the Black. Last year, he produced artist Candice Breitz’s video and performance piece “New York, New York” for Performa ’09. He was formerly the Programming Director of The Kitchen Center for Video, Music, Dance, Performance and Film. Macaulay also currently sits on the Advisory Board of the Rotterdam CineMart.

John Akomfrah – April 18th, 7:00, 2011,
Scribe Video Center

JOHN AKOMFRAH is considered one of the founding figures of Black British cinema. His documentaries, feature films and gallery installations have won him prizes and critical acclaim across Africa, Asia, Europe and North America. As a founder of the Black Audio Film Collective, the seminal British film-making collective, he co-produced a broad range of work for seventeen years – fiction films, tape slides, single screen gallery pieces, experimental videos, creative documentaries and music videos. Akomfrah’s debut as a director, the controversial and influential Handsworth Songs (1986), reworks documentary conventions to explore the history of the contemporary British black experience. Other landmark films that have shaped the documentary are Seven Songs for Malcolm X (1993) and Testament (1998).

Akomfrah will screen excerpts from his two new works Mnemosyne (2010) (film still above), a tone poem that explores migration and The Genome Chronicles (2010), a meditation on the close deaths of artist Donald Rodney and Akomfrah’s mother.

Presented in partnership with Temple University’s Department of Film and Media Studies and the University of Pennsylvania’s Program in Cinema Studies, Center for Africana Studies, and English Department – Latitudes Reading Group.

Laura Parnes – April 20th, 5:15, 2011, AH3

LAURA PARNES is an artist whose work engages strategies of narrative film and video art to blur the lines between storytelling conventions and experimentation. Parnes’ installations operate at a symbolic and sculptural level, while maintaining a narrative coherence that points to a future in which reality is tightly nested in layers of art, popular culture, and experience. Parnes has screened and exhibited her work widely in the US and internationally, including The Whitney Biennial, The Museum of Modern Art, New York; Light Industry, Brooklyn, NY; Turin GLBT Film Festival, Turin, Italy; Schroeder Romero, NY; Kunsthalle Winterthur, Winterthur, Switzerland; Sara Meltzer Gallery, NY; Akademie Schloss Solitude, Stuttgart, Germany; Cinematexas, Austin, TX; Pacific Film Archives, Berkeley Art Museum, Berkeley, CA; Museo Nacional Centro De Arte Reina Sofia, Madrid, Spain; Whitney Museum of American Art, NY; MoMA/PS1 Contemporary Art Center, NY; Miami Museum of Contemporary Art, Miami, FL; and Brooklyn Museum, NY. Parnes has been awarded residencies including the Sally and Don Lucas Artists Programs at the Montalvo Arts Center; the Wexner Center; Cuts and Burns Residency at The Outpost; and Harvestworks. Her work has received the support of the Experimental Television Center and the New York State Council on the Arts. Parnes has held teaching positions at New York University, The New School, Bennington College and Cooper Union. She received her BFA from the Tyler School of Art, Temple University, and lives and works in Brooklyn, NY.


2010 Fall Lecture Series

Harun Farocki & Antje Ehmann – September 16th, 2010, 6:30-8:30 pm, Slought Foundation

Harun Farocki ( is an author, filmmaker, and video artist. Since the mid-1960s, Farocki has made close to 90 films, including feature films, essay films, and documentaries. In recent years, Farocki has created multi-channel video works that have been exhibited at international venues such as Documenta, the Generali Foundation, Tate Modern, ICA London, Jeu de Paume, Centre Pompidou, and the Museum of Modern Art in New York. Some of his most celebrated works include Inextinguishable Fire (1969), Images of the World and the Inscription of War (1988), Videograms of a Revolution(1992), Workers Leaving the Factory (1995), War at a Distance (2003), and Deep Play (2007). Farocki served as the editor of the journal Filmkritik from 1974-84. He is the author, with Kaja Silverman, of Speaking About Godard (1998).

Recent solo shows include Harun Farocki, Kunsthaus Bregenz, Bregenz 2010; Harun Farocki. Against What? Against Whom?, Raven Row, London 2009; and Harun Farocki, Museum Ludwig, Cologne 2009. His last publications include Rote Berta Geht Ohne Liebe Wandern, Cologne 2009; Kino wie noch nie / Cinema like never before, together with Antje Ehmann, Cologne 2006; and Imprint / Nachdruck, Berlin / New York 2001. His recent films / installations includeDas Silber und das Kreuz (2010), umgießen (2010) and Zum Vergleich (2009). Farocki is professor at the Akademie für Bildende Künste, Vienna and lives in Berlin.

Antje Ehmann is an author, curator and video artist, born in Gelsenkirchen, Germany. Recent publications include, Harun Farocki. Against What? Against Whom?, ed. together with Kodwo Eshun, Cologne 2009; Amos Gitai. News from Home, ed. together with Anselm Franke and Katharina Fichtner, Cologne 2006; and Geschichte des Dokumentarischen Films in Deutschland, Bd. 2, Weimarer Republic, together with Klaus Kreimeier and Jeanpaul Goergen, Stuttgart 2005. Recent curatorial projects include Three Early Films, together with Kodwo Eshun and Bart van der Heide, Cubitt, London 2009; Harun Farocki. 22 films, together with Stuart Comer and Kodwo Eshun, Tate Modern, London 2009; and Cinema like never before, together with Harun Farocki, Generali Foundation Vienna, 2006 and Akademie der Künste, Berlin 2007. Video installations include War tropes (together with Harun Farocki, 2011) Loud and Clear (2009) andFeasting or Flying (together with Harun Farocki, 2008). Antje Ehmann lives in Berlin.

Slought Foundation and the Temple University Department of Film and Media Arts are pleased to present The Image in Question: War – Media – Art, a film screening and conversation with Harun Farocki and Antje Ehmann at Slought Foundation, organized by Nora Alter. The event will begin with a screening of Harun Farocki’s Immersion (2009; 20 minutes), followed by a discussion with Farocki and Ehmann about their work.

Ulrike Ottinger – October 18th, 2010, 5:00,
Slought Foundation

ULRIKE OTTINGER grew up in Konstanz, Germany and has lived and worked in Berlin since 1973. Her first screenplay, Die Mongolische Doppelschublade (The Mongolian Double-Drawer), was written in 1969. Since the early 1970’s Ottinger has directed over 20 films, including feature-length dramatic works and experimental documentaries. Films such as Madame X and Freak Orlando present Ottinger’s interest in outsider histories and dominant myths in contemporary society. Her work has explored both Berlin, her current city of residence, as well as Asia and other sites around the world with this transgressive perspective. Ottinger is one of only a handful of female directors in Europe to have achieved international acclaim. Her films have been shown at festivals and museums around the world, including the Venice Biennale, Documenta, the Cinematheque francaise in Paris, and the Museum of Modern Art in New York.

Slought Foundation and the Temple University Department of Film and Media Arts are pleased to present a film retrospective featuring works by Ulrike Ottinger, followed by a public conversation with the artist, on Tuesday, October 19, 2010 from 5-8:30pm at Slought Foundation. This program has been organized by Nora Alter, Professor of Film and Media Arts at Temple University.

Lynn Sachs – November 10th, 5:30, 2010, AH3

LYNN SACHS makes films, videos, installations and web projects that explore the intricate relationship between personal observations and broader historical experiences by weaving together poetry, collage, paintng, politics and layered sound design.

“I Am Not a War Photographer” is a screening and talk exploring filmmaker Lynne Sachs’ decade-long artistic, rather than physical, immersion in war. Her experimental documentaries push the borders between genres, discourses, radicalized identities, psychic states and nations through the intertwining of abstract and reality based imagery.

In this program, Sachs introduces visual strategies for working with these fraught and divisive themes. Often opting for a painterly rather than a photographic articulation of conflict, Sachs tries to expose the limitations of conventional documentary representation of the past and the present. Infusions of colored “brush strokes” catapult a viewer into contemporary Vietnam. Floating drinking glasses moving across a Muslim cemetery in Sarajevo evoke a war-time without water. Pulsing, geometric mattes suspended in cinematic space block news footage of a bombing in Tel Aviv. By using abstraction, Sachs is not avoiding graphic realism but rather unpeeling the outer, more familiar layers, hoping to reveal something new aobut perception and engagement in cinema.