April 3rd
The Moon and the Son: An Imagined Conversation
Post-Screening Q&A with filmmaker John Canemaker
7PM- Lang Auditorium/4th Floor – North Building
Hunter College – 695 Park Avenue
The Moon and the Son: An Imagined Conversation (28 min.) tells the true story of a son’s struggle to understand his angry and often violent father, an Italian immigrant whose American dream went wrong. The Moon and the Son won an Oscar in 2005 for Best Animated Short, as well as an Emmy and marked a personal and professional breakthrough in animation storytelling.
Confessions of a Stardreamer (10 min.; 1978) – The extemporaneous musings of an actress about her career provide the springboard for an imaginative fantasy on the fragility of fame. Awards: 14th International Tournee of Animation 1979; Best of World Animation, Zagreb International Animation Festival 1980; London Film Festival, 1980; Filmex 1980, Los Angeles. The Moon and the Son will be preceded by Confessions of a Stardreamer at this evening’s screening.
John Canemaker is a key figure in American independent animation. His animated films have a distinctive personal style emphasizing emotion, personality and dynamic visual expression. ( ( Canemaker has received numerous prestigious awards for his work including an Academy Award, an Emmy and a Peabody Award.
Canemaker also created animation for two award-winning documentaries: HBO’s You Don’t have to Die (1989), which won an Academy Award for documentary short; and Break the Silence: Kids Speak Out Against Abuse (1991), a Peabody Award-winning CBS special. Other commissioned work for television and feature film includes Sesame Street, The Electric Company, Pee Wee’s Playhouse, and an animated sequence in The World According to Garp (1981).
In addition to his groundbreaking animation work, Canemaker is an internationally renowned animation historian and teacher. He has written nine books on animation, as well as numerous essays, articles and monographs for The New York Times and The Wall Street Journal, among other publications.
No subject matter is off-limits or deemed too ‘difficult’ for the animation imagination of John Canemaker, who has extended the vocabulary of the art form way beyond the ‘safe’ cartoon image. Canemaker is an extraordinarily skillful artist whose distinctive style is nevertheless ultimately defined by the subject matter. Canemaker addresses the core of his subject with compassion and fearlessness-the painterly qualities and the accomplished, energetic line movement expressing his artistic vision.
— Jytte Jensen, Associate Curator of Film and Video, The Museum of Modern Art
This event is free and open to the public, and was arranged by Professor Mick Hurbis-Cherrier, and is sponsored by the Film and Media Studies Department, and the IMA Development Fund. For further information, please contact David Pavlosky at: pav10023@gmail.com
April 6th
Capturing Palestine: Witnessing and Storytelling
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Date: Friday, April 6, 2012
Time: 7:30 p.m.
Venue: Union Docs (322 Union Ave Brooklyn, NY 11211), $9 Suggested Donation
Michael Kennedy explores the question of whether a photographer, researcher, artist, journalist, human rights worker or activist can meet the demands of objectivity and proof required in the documentation of rights abuses and still take the miraculous seriously?
Since late 2009, the West Bank village of Iraq Burin has been subject to land theft and increasing violence from the Israeli military and neighboring settlement of Bracha. In March 2010, the Israeli military entered the village and shot two teenage boys in the street. Counter to Israeli claims that no live ammunition was used, a U.N. report was issued on the incident containing three post-mortem photographs of entry and exit wounds on the boys’ bodies. Excluded from this report and other journalistic accounts is another image: dried blood in the street where the boys fell that spelled “Mohammed.”
Bio: Michael Kennedy is a photographer and doctoral candidate in the Department of Anthropology at Columbia University. His work considers the politics of representation by moving between artistic practice and the conventions of ethnography. He holds a M.A. in anthropology from the American University in Cairo, and has taught photography in the Department of Journalism at An Najah University. His writings and photography have appeared in publications and exhibits in the Middle East, Europe, and the United States.
This program is part of ArteEast’s 2012 series Making the Real: Practices of Documentation.
Join us for an exploration of vernacular image-making among Black Europeans and African Americans during the first half of the the twentieth century. Tina Campt’s new book Image Matters: Archive, Photography and the African Diaspora in Europeexamines how Black Germans and Black Britons used vernacular photography to create forms of identity and belonging that challenged racist stereotypes. The event brings together scholars, photographers, archivists, and curators of visual culture in the African Diaspora for a discussion of Campt’s work and the insights it offer on how black communities articulate their place in their society through the photographic image. Reception will follow.
Participants:
Tina Campt, Barnard College
Deborah Willis, New York University
Kellie Jones, Columbia University
Kobena Mercer, Yale University
Brian Wallis, International Center of Photography
Sponsored by ICP, Barnard College Africana Studies Program, and the Institute for Research on Women and Gender at Columbia University.
Join Ed Kashi for a signing of his book Witness Number 8: Photojournalisms.
Ed Kashi is an award-winning photojournalist, filmmaker, and educator dedicated to documenting the social and political issues that define our times. A sensitive eye and an intimate relationship to his subjects are signatures of his work. As a member of the prestigious photo agency VII, Kashi has been recognized for his complex imagery and its compelling rendering of the human condition. For his contribution to the Joy of Giving Something series “Witness,” Kashi has delivered a powerful and deeply moving view into his world and career. “As a photojournalist who travels extensively around the world, home for me has always been a shifting term, with shifting people and shifting objects vying for my attention. Upon meeting Julie Winokur in 1992, that dynamic was forever altered. When we married in 1994, a pattern of recording journals addressed to Julie was already firmly established. In keeping with the changing times, what began as paper journals was replaced with daily emails by 2000. Encompassing nearly 20 years, this book is a selection of these journal entries from various locations around the world written for my wife. (…) The very act of creating this book touches upon my desire to reach out to others and to report on issues throughout the world. I am constantly looking for ways to expand the conversation of my work and the medium of photojournalism; to ultimately broaden the ways in which we tell stories and share our personal feelings. In a sense, this book is a different way to look at the world using both internal and external impressions, words and images. The depth of my feelings, touched so deeply and so often by the realities I witness, are the testimony I want this collection to reveal.”
Please note that due to professional obligations, photographer’s book signing dates may change without notification. Limit of two signed copies per customer. Pre-orders and reserve orders are not guaranteed but every effort is made to fulfill orders. Books must be purchased from the ICP Store. If purchased before date of event, please bring your receipt. For more information, call 212.857.9725.
Free Friday night programs in the Museum are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and City Council Speaker Christine C. Quinn.
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