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DTSTART;TZID=America/New_York:20071214T190000
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SUMMARY:"What Would Jesus Buy?" Screening
DESCRIPTION:What Would Jesus Buy? follows Reverend Billy and the Church of Stop Shopping Gospel Choir as they go on a cross-country mission to save Christmas from the Shopocalypse: the end of mankind from consumerism\, over-consumption and the fires of eternal debt! From producer Morgan Spurlock (Supersize Me) and director Rob VanAlkemade comes a serious docu-comedy about the commercialization of Christmas. Bill Talen (aka Reverend Billy) was a lost idealist who hitchhiked to New York City only to find that Times Square was becoming a mall. Spurred on by the loss of his neighborhood and inspired by the sidewalk preachers around him\, Bill bought a collar to match his white caterer’s jacket\, bleached his hair and became the Reverend Billy of the Church of Stop Shopping.  \n\n\n\nSince 1999\, Reverend Billy has gone from being a lone preacher with a portable pulpit preaching on subways\, to the leader of a congregation and a movement whose numbers are well into the thousands. Through retail interventions\, corporate exorcisms\, and some good old-fashioned preaching\, Reverend Billy reminds us that we have lost the true meaning of Christmas.  \n\n\n\nWhat Would Jesus Buy? is a journey into the heart of America – from exorcising the demons at the Wal-Mart headquarters to taking over the center stage at the Mall of America and then ultimately heading to the Promised Land … Disneyland. Will we be led like Sheeple to the Christmas slaughter\, or will we find a new way to give a gift this Christmas? What Would Jesus Buy? may just be the divine intervention we’ve all been searching for. The Shopocalypse is upon us …Who will be $aved?
URL:https://www.mediasanctuary.org/event/what-would-jesus-buy-screening/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080201T190000
DTEND;TZID=America/New_York:20080201T210000
DTSTAMP:20230320T154850Z
CREATED:20080201T202600Z
LAST-MODIFIED:20230320T154850Z
UID:10000883-1201892400-1201899600@www.mediasanctuary.org
SUMMARY:Brian De Palma's "Redacted"
DESCRIPTION:The exclusive Capital Region release of Brian De Palma’s fictional documentary\, Redacted (2007). De Palma (Carrie\, Dressed to Kill\, The Untouchables\, Mission Impossible) won the Silver Lion for Best Director at the 2007 Venice Film Festival for this movie\, a fictional story inspired by true events in Iraq. “The only Iraq film I would rank alongside No End in Sight in the category of essential viewing.” (Scott Fondas\, LA Weekly). Screenings will take place on both February First and February Second\, 2008. \n\n\n\nCo-sponsored by Bethlehem Neighbors for Peace\, Women Against War and Chatham Peace Initiative. \n\n\n\nRedacted Poster\n\n\n\nAbout the Film:\n\n\n\nDe Palma won the Silver Lion for Best Director at the 2007 Venice Film Festival for this film\, a fictional story inspired by true events. Redacted is a unique cinematic experience that pushes viewers to radically reconsider the filters through which we see and accept events in our world\, the power of the mediated image and how presentation and composition influence our ideas and beliefs. \n\n\n\nCentered around a small group of American soldiers stationed at a checkpoint in Iraq\, Redacted alternates points of view\, balancing the experiences of these young men under duress and members of the media with those of the local Iraqi people\, illuminating how each have been deeply affected by the current conflict and their encounters with each other. The charged apotheosis of Brian De Palma’s filmmaking career\, Redacted caps off a body of work which has explored the politics of image-making and reception more fully than any living filmmaker.  \n\n\n\n“Once again a senseless war has produced a senseless tragedy\,” says De Palma. “I told this story years ago in my film ‘Casualties of War.’ But the lessons from the Vietnam War have gone unheeded. How to tell the story today? And how did it all begin? Last year at the Toronto Film Festival I was approached by a representative of HDNET films who asked if I would be interested in making a film using high definition video. I said I would if I could find a subject matter that would be best explored in the medium. Then I read about an incident in the Iraq War where members of a US army squad had reportedly raped a 14 girl\, slaughtered her family\, shot the girl in the face and set her body on fire. How could these boys have gone so wrong? In searching for the answers\, I read soldier’s blogs\, books\, watched soldier’s home made war videos\, surfed their web sites\, and their ‘YouTube’ postings. It was all there\, and all in video. “To redact is to edit\, or prepare for publishing. Frequently\, a redacted document or image has simply had personal (or possibly actionable) information deleted or blacked out; as a consequence\, redacted is often used to describe documents or images from which sensitive information has been expunged. The true story of our Iraq War has been redacted from the mainstream corporate media. If we are goings to cause such disorder then we must face the horrendous images that are the consequences of these actions. Once we saw them in Vietnam our citizens protested and brought that misguided conflict to an end. Let’s hope the images from this film have the same effect.” \n\n\n\nAbout Brian De Palma:\n\n\n\nBrian De Palma/Scott Wintrow: Getty Images\n\n\n\nWriter/director Brian De Palma has showcased his filmmaking talents in diverse films ranging from thrillers such as “Sisters\,” “Obsession\,” “Dressed to Kill\,” “Body Double” and “Snake Eyes\,” to the blockbuster action film “Mission: Impossible\,” the acclaimed police dramas “Scarface\,” “The Untouchables” and “Carlito’s Way” to the unique visions in “Carrie” and “Phantom of the Paradise. “De Palma has also directed war films\, comedies and science fiction.  \n\n\n\nBorn in Newark\, New Jersey on September 11\, 1940\, De Palma grew up in Philadelphia where his father was an orthopedic surgeon. Early on\, De Palma became fascinated by physics and went to Columbia College to study the subject. He soon changed paths and began studying first theater\, then cinema.  \n\n\n\nIn 1960\, he made his first mid-length feature\, “Icarus\,” followed by “6601224\, The Story of an IBM Card” and “Wotan’s Wake\,” for which he received several awards. De Palma undertook his first full-length feature\, “The Wedding Party\,” while studying at Sarah Lawrence College. “The Wedding Party\,” a semi-improvised comedy\, would be Robert De Niro’s and Jill Clayburgh’s film debuts. After this first film\, De Palma went on to do several documentaries and short films\, including “The Responsive Eye\,” and put on an exposition of Op Art at the Museum of Modern Art in New York.  \n\n\n\nIn 1967\, he made his second full-length feature\, “Murder à la Mod\,” a sophisticated thriller packed with Hitchcockian references. The anti-establishment fever of the sixties led him to make the satirical comedies “Greetings” (Silver Bear at the Berlin Film Festival) and “Hi Mom\,” which lifted him into the ranks of young American filmmakers. The big Hollywood studios began paying attention to De Palma\, but it was his modest independent production “Sisters\,” which brought his first big success. Breaking away from the semi-improvisational style of his previous films\, he made apparent that his talent for writing\, his sense of construction\, his framing and rhythm were worthy of the best Hollywood directors.  \n\n\n\nTwo years after his success\, De Palma made the musical thriller “Phantom of the Paradise” which came away with the Grand Prize from the 1975 Avoriaz Film Festival. In 1976\, he (with Paul Schrader) wrote and directed “Obsession\,” a romantic thriller starring Cliff Robertson and Genevieve Bujold\, followed by “Carrie\,” which triumphed worldwide and earned Sissy Spacek and Piper Laurie Oscar nominations. The film\, which also featured Nancy Allen\, John Travolta and Amy Irving\, remains one of the most brilliant adaptations of a Stephen King novel. Its famous last scene\, as well as others\, has been widely imitated over the years.  \n\n\n\nIn 1977\, De Palma directed Kirk Douglas\, John Cassavetes and Amy Irving in “The Fury\,” a spy film that combined the occult with political fiction. In 1978\, he made “Home Movies\,” a semi-autobiographical comedy starring Kirk Douglas and Nancy Allen\, with the assistance of fellow film students from Sarah Lawrence.  \n\n\n\nIn 1980\, De Palma returned to suspense with “Dressed to Kill\,” starring Michael Caine\, Nancy Allen and Angie Dickinson\, then went on to write and direct “Blow Out\,” which explored two of his major themes: voyeurism and politics.  \n\n\n\nIn 1982\, Brian De Palma directed a baroque\, hyper-violent remake of “Scarface” from an Oliver Stone screenplay\, starring Al Pacino and Michelle Pfeiffer.  \n\n\n\nIn 1984\, he made “Body Double\,” which gave Melanie Griffith her breakthrough role. Leaving behind the film genre which had made him famous\, Brian went on to direct “The Untouchables\,” a huge spectacular saga about prohibition which earned its star\, Sean Connery\, an Oscar\, and launched the careers of Kevin Costner and Andy Garcia.  \n\n\n\nIn 1989\, Brian directed Michael J. Fox and Sean Penn in the war film “Casualties of War” and in 1990\, he adapted Tom Wolfe’s satirical novel “The Bonfire of the Vanities\,” which starred Tom Hanks\, Melanie Griffith and Bruce Willis.  \n\n\n\nIn 1992\, De Palma returned to thrillers with “Raising Cain\,” which starred John Lithgow and Lolita Davidovich\, as well as directing Al Pacino in “Carlito’s Way.” \n\n\n\n In 1996\, he brought together Tom Cruise\, Jon Voight\, Emmanuelle Beart and Jean Reno in “Mission: Impossible\,” a tribute to the cult television series.  \n\n\n\n“Mission: Impossible” became an enormous international success and was followed by “Snake Eyes\,” starring Nicolas Cage and Gary Sinise\, as well as his first science fiction film\, “Mission to Mars\,” which starred Gary Sinise\, Tim Robbins\, Don Cheadle and Connie Nielsen.  \n\n\n\nMost recently\, De Palma directed Josh Hartnett\, Hilary Swank\, Aaron Eckhart and Scarlett Johansson in the 2006 film noir thriller\, “The Black Dahlia\,” an adaptation of the popular novel by James Ellroy. \n\n\n\nPress: \n\n\n\n“An amazingly vigorous work and De Palma’s strongest cinematic statement since ‘Casualities of War’” — Richard Corliss\, Time \n\n\n\n“The only Iraq film I would rank alongside ‘No End in Sight’ in the category of essential viewing” — Scott Fondas\, LA Weekly \n\n\n\n“A sensational film. De Palma’s filmmaking skills have seldom been a razor sharp” — Ray Bennett\, Hollywood Reporter \n\n\n\n“De Palma’s anger and frustration with the media course through ‘Redacted’ like an electrical current” — Stephanie Zacharek\, Salon
URL:https://www.mediasanctuary.org/event/brian-de-palmas-redacted/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080215T180000
DTEND;TZID=America/New_York:20080215T210000
DTSTAMP:20230109T030552Z
CREATED:20080215T152200Z
LAST-MODIFIED:20230109T030552Z
UID:10000886-1203098400-1203109200@www.mediasanctuary.org
SUMMARY:"King Corn" Screening with Panel
DESCRIPTION:Director Aaron Woolf’s entertaining feature-length documentary about the subsidized crop that drives our fast-food nation raises troubling questions about how we eat and how we farm. Complimentary organic popcorn and corn-free sodas for all.  \n\n\n\nCo-sponsored by Honest Weight Food Co-Op as well as Roots and Wisdom. \n\n\n\nKing Corn movie still\n\n\n\nKing Corn is a feature film documentary about the subsidized crop that drives our fast-food nation. Almost everything Americans eat contains corn: high fructose corn syrup\, corn-fed meat\, and corn-based processed foods are the staples of the modern diet. Ready for an adventure and alarmed by signs of their generation’s bulging waistlines\, college friends Ian Cheney and Curt Ellis know where to go to investigate. \n\n\n\nEighty years ago\, Ian and Curt’s great-grandfathers lived just a few miles apart\, in the same rural county in northern Iowa. Now their great-grandsons are returning with a mission: they will plant an acre of corn\, follow their harvest into the world\, and attempt to understand what they—and all of us—are really made of. \n\n\n\nThey move to the heartland to learn where their food comes from. With the help of friendly neighbors\, genetically modified seeds\, and powerful herbicides\, they plant and grow a bumper crop of America’s most productive\, most-subsidized grain on one acre of Iowa soil. But when they try to follow their pile of corn into the food system\, what they find raises troubling questions about how we eat—and how we farm. \n\n\n\nKing Corn movie poster\n\n\n\n“Genetically engineered corn can be ‘hidden’ in everyday grocery items ranging from bread\, to soda\, to the ramen noodles you had for lunch\,” Karisa Centanni\, Education Coordinator at the Honest Weight Food Co-op\, comments. “The same genes that comprise this ‘corn’ are showing up in our hair and skin\, believe it or not\, yet we have no idea about the kind of biological and environmental changes this may cause over a long period of time.” Immediately following the screening a panel comprised of two local\, organic farmers—Leslie Herd and Chris Kemnah—and Louise Maher-Johnson\, a non-GMO activist who has coordinated two statewide lobby days (2005 and 2006) to inform legislators about transgenic food\, will be available as part of a panel discussion and to answer audience questions and concerns. \n\n\n\nYouth gardeners from Roots and Wisdom will serve corn-free\, New-England-made sodas and organic popcorn during a pre-screening reception\, beginning at 6 PM\, and following the film. They will talk with attendees about the important role they are playing to recover the local foods system through farming themselves. All sales of concessions will go directly to programming for Roots and Wisdom. \n\n\n\nRoots and Wisdom is a youth agriculture and community service program bringing together Schenectady County residents to grow organic vegetables for donation to local food pantries and for sale locally. Participants learn about sustainable agriculture\, nutrition\, hunger\, and diversity. Roots and Wisdom creates genuine change by helping county residents in need and providing youth with opportunities to work hard and grow. \n\n\n\nThe Honest Weight Food Co-op\, founded in 1976\, is open to the public seven days a week. A member-owned and -operated organization\, Honest Weight Food Co-op is committed to providing the community with affordable\, high quality natural foods and products for healthy and ecologically sustainable living. The store offers a full line of brand-name grocery products\, more than 500 domestic and imported cheeses from rBGH-free dairies\, an extensive selection of bulk foods\, and the area’s widest selection of locally produced food products. Honest Weight Food Co-op is centrally located at 484 Central Avenue\, between Partridge and Manning\, in Albany\, NY. \n\n\n\nThis presentation is made possible in part by volunteer labor and hundreds of small donations from patrons of The Sanctuary for Independent Media.
URL:https://www.mediasanctuary.org/event/king-corn-screening-with-panel/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
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DTSTART;TZID=America/New_York:20080222T180000
DTEND;TZID=America/New_York:20080222T203000
DTSTAMP:20230320T154714Z
CREATED:20220331T161545Z
LAST-MODIFIED:20230320T154714Z
UID:10001341-1203703200-1203712200@www.mediasanctuary.org
SUMMARY:"A Love During the War" Screening with Filmmaker Osvalde Lewat-Hallade
DESCRIPTION:What are the consequences when rape is used as a weapon of war? Osvalde Lewar-Hallade’s moving documentary A Love During the War (2005) explores the question from the perspective of women in Africa\, where this tragedy is witnessed again and again. One of the emerging voices of feminist African filmmaking\, the Cameroonian director Osvalde Lewat-Hallade is well on her way to becoming her continent’s Kim Longinotto or Barbara Kopple\, forging direct cinema with activist power. Osvalde Lewat-Hallade will be present for audience questions at a screening of her film. Part of the African Film Festival program.  \n\n\n\nThis presentation is co-sponsored by the Arts Department at RPI and made possible by volunteer labor\, hundreds of small donations from patrons of The Sanctuary for Independent Media\, and support from the Electronic Media & Film program at the NYS Council on the Arts. \n\n\n\nStill from A Love During War.\n\n\n\nAbout the Film:\n\n\n\nA Love During the War is a docudrama following the experiences of a journalist who is separated from her husband when the Democratic Republic of Congo erupts into civil war. She reunites with her husband in Kinshasa\, but the memory of the horrors suffered by other women during the war still haunts her. Despite her husband’s protests\, she returns to Eastern Congo to find that the legacy of violence continues to infect the lives of women young and old. However\, not everyone remains a victim as women have started denouncing the abuses they suffered. \n\n\n\nA Love During the War manages a remarkable feat\, telling an uplifting story of love that is utterly uncontrived\, while situating it within the context of a bloody war and the horrifying phenomenon of systematic rape committed by militias and armies in the Congo. \n\n\n\nThe two lovers in question are journalist Aziza and her husband Dedier\, who are separated by the outbreak of the Congo-Kinshasa war in 1996\, a conflict that eventually claimed the lives of three million people. Direct\, riveting interviews reveal the angst Aziza and Dedier endured throughout their six-year-long severance. \n\n\n\nThrough the actions of Aziza\, who takes an interest in the brutal experiences of a young girl who was gang-raped by several uniformed men\, director Osvalde Lewat-Hallade seamlessly synthesizes a personal story with an examination of the use of rape as a tool of war. The result is stirring and ultimately galvanizing\, as one cannot help but feel awed by the courage and resilience of women who have overcome stigma and trauma to speak out. \n\n\n\n\n\n\n\nAbout the Director:\n\n\n\nOsvalde Lewat-Hallade started her career as a journalist. She produced her first documentary\, Upsa Yimoowin (The Pipe of Hope) in Toronto in 2001. That film denounces the sidelining of Native Americans. Her second film\, Beyond the Pains\, was made in 2003 and is based on the life of a prisoner who was sentenced to four years in jail for a minor crime and ends up being imprisoned for 33 years. Beyond the Pains was the recipient of the TV Film Prize at the Avanca City Festival and of the Human Rights Prize at the Vues d’Afrique Festival in Montreal. A Love During the War\, her latest documentary film\, won two jury mentions in Fespaco and the Montreal Film Festival. She has just completed a feature film\, “Black Business.”
URL:https://www.mediasanctuary.org/event/a-love-during-the-war-screening-with-filmmaker-osvalde-lewat-hallade/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080310T170000
DTEND;TZID=America/New_York:20080310T180000
DTSTAMP:20220404T161713Z
CREATED:20080310T164000Z
LAST-MODIFIED:20220404T161713Z
UID:10000892-1205168400-1205172000@www.mediasanctuary.org
SUMMARY:The Great "Virtual Jihad" Controversy with Wafaa Bilal
DESCRIPTION:The Sanctuary gives refuge to artist Wafaa Bilal after he is banned from the RPI Campus.  On Monday\, March 10\, Iraq-born video artist Wafaa Bilal will be on hand for a reception at 6 PM followed at 7 PM by a presentation about his installation Virtual Jihadi which was to have been displayed at The Sanctuary for Independent Media. The installation was scheduled to be open to the public through Friday\, March 15 from noon to 2 PM as well as before and after regularly scheduled events through April 4\, 2008. For full details\, watch this 22 minute video documentary about the controversy produced by the Hudson Mohawk Independent Media Center. \n\n\n\n\n\n\n\n\n\nAbout the Controversy:\n\n\n\nThe exhibit was shut down–along with The Sanctuary for Independent Media itself–on trumped-up code violation charges by City of Troy officials on the morning of Tuesday\, March 11\, just minutes before the show was to open to the public. The Sanctuary remained closed until a grand re-opening celebration on April 26 capped off two months of fundraising and renovations. \n\n\n\nAnother version of this installation had opened on March 5\, 2008 at Rensselaer Polytechnic Institute but as reported by the Times Union it was abruptly closed the following day. Coverage of the controversy has spread around the country\, with stories appearing in the Washington Post\, Chicago Tribune and NY Newsday. Writing from Paris\, France cultural critic Brian Holmes offered his analysis of the art panic at RPI and Inside Higher Ed wrote about the episode in the broader context of campus censorship\, followed by another story when the show opened at the Sanctuary. \n\n\n\nA local Republican operative on the payroll of the City of Troy\, Rensselaer County and NY State called for protests at the Monday\, March 10 show opening at the Sanctuary in an article in the Troy Record. \n\n\n\nIn the widely marketed video game Quest for Saddam\, players fight stereotypical Iraqi foes and try to kill Saddam. Al Qaeda did its own take\, creating an online video game using the structure of Quest for Saddam but adding a new “skin” to turn the game into a hunt for Bush: The Night of Bush Capturing. Now artist Wafaa Bilal has hacked the Al Qaeda version of the game to put his own more nuanced spin on this epic conflict. \n\n\n\nIn The Night of Bush Capturing: A Virtual Jihadi\, Bilal casts himself as a suicide-bomber in the game. After learning of the real-life death of his brother in the war\, he is recruited by Al Qaeda to join the hunt for Bush. This work is meant to bring attention to the vulnerability of Iraqi civilians to the travesties of the current war and racist generalizations and stereotypes as exhibited in games such as Quest for Saddam\, along with vulnerability to recruitment by violent groups like Al Qaeda because of the U.S.’s failed strategy in securing Iraq. The work also aims to shed light on groups that traffic in crass and hateful stereotypes of Arab culture with games like Quest for Saddam and other media. \n\n\n\nWafaa Bilal was named 2007 Chicagoan of the Year by the Chicago Tribune\, which wrote\, “No artwork created in Chicago in 2007 received as much attention as Wafaa Bilal’s ‘Domestic Tension\,’ an interactive performance piece that subjected the Iraqi-born artist to a month of bombardment by paintballs from Internet viewers.” \n\n\n\nAccording to Wafaa Bilal:\n\n\n\n“My art is most influenced by the pain and suffering of growing up under Sadaam Hussein’s repressive rule from 1968 to the recent “Iraqi Freedom War”. I experienced violence on a daily basis\, and visions of death and terror together with the anguish to the Iraqi people are irrevocably etched in my memory. My generation in Iraq is defined by decades of war. Since coming to the United States I have also seen great injustice and suffering in the forms of poverty\, racism\, and many other forms of discrimination and hatred. From this point of departure\, through art I strive to uncover an overarching human condition while creating a space for provocation\, dialogue\, and contemplation. As my friend and colleague Gregg Bordowitz has written\, when we are exposed to violence on a daily basis\, how can we\, as political artists\, convey this experience clearly to the viewer and leave a lasting impression that is fresh and solid in its conclusions\, not cliché? \n\n\n\nA constant negotiation must take place in order to embrace the aesthetic pleasure of the image’s surface\, which is so necessary to capture the imagination\, and to convey the aesthetic pain of the content. The failure of this negotiation can easily result in the alienation of the viewer\, while a successful negotiation may result in active engagement and an opening of the viewer’s perspective. While I do not wish to impose narrow interpretations of my work but struggle to create complex and muli-dimensional images\, I also do not feel we currently have the privilege to enjoy art purely as aesthetic pleasure. It is a misconception that art has ever been pure; historically it has been a means of expressing personal and societal realities and interpretations. We must actively employ the tension and incongruence produced by the coexistence of aesthetic pleasure and aesthetic pain to attract and jolt the viewer in a thought-provoking manner. As an active player in society and as both educator and agitator\, the artist must keep pushing these boundaries. \n\n\n\nThe photographs I create are highly symbolic\, “hyper-real” landscapes\, landscapes of possibilities existing just beyond reality\, expressing emotions and conditions that permeate reality. They equally could be called “interior landscapes\,” representative of the psychology of human suffering in a society ruled by oppression\, domination\, and fear. Figures exist in equal balance with the landscapes\, the images drawing their complexity from this dramatic polar tension. Within the frame\, time and place loses specificity to become transcendent and expressive of a broader human condition. \n\n\n\nVideo installations provide another level of impact besides the content of the image: we observe movement\, a physical language the body understands. I play with the viewer’s presence and engagement or lack thereof\, allowing this to directly impact the action and outcome of the piece. As the viewer may be far removed from the conflict addressed within the work\, it is important to communicate to the viewer through a recognizable visual language\, and so I filter the subject through historical and psychological contexts of the subject’s specific locale. The frame acts as a historical window to the past\, while the moving image exemplifies a persistent-present\, a current condition influenced by internal or external circumstances that inhibit change. The moment something is done to change a situation\, the persistent-present becomes a progressive present where change can occur. \n\n\n\nMy memories of Iraq and my disenchantment with politics have not left me cynical\, nor drained of hope for humanity. On the contrary\, I am filled with belief in the power of the people to control their own destinies\, and I continue to believe in social justice. I hope to foster a sense of self-empowerment in my audience and to counter the sense of powerlessness people feel in the face of inhumanity.” \n\n\n\nAbout Wafaa Bilal:\n\n\n\nWafaa Bilal was born in Iraq on June 10\, 1966. Because a member of his family had been accused of disloyalty to his country\, Wafaa was denied the opportunity to pursue his dream of being an artist. Instead\, he was to attend college to major in geography. While in college\, he continued to pursue his art and was arrested and tortured for his political art work against Saddam Hussein. \n\n\n\nShortly after the Gulf War\, Wafaa was inspired by President Bush’s message to the Iraqi citizens that if they attempted to overthrow Saddam\, the US would stand behind them. He became involved in organizing opposition to the government and was scheduled for arrest and execution when he escaped into Kuwait. There he was accused of being a spy and was close to being shot when his student ID convinced them he told the truth. \n\n\n\nWafaa was sent to a refugee camp on the Kuwaiti border. In the camp\, people laughed when rather than accept life in a tent he began forming brick that he dried in the sun and fashioned into a home. The adobe served a practical purpose\, for it provided relative safety from abduction by Kuwaiti soldiers who sneaked into tents in the middle of the night to kidnap young people for sale to Iraqi soldiers who tortured\, raped and executed them or the Turkish soldiers themselves would rape and kill them. \n\n\n\nFor two years\, Wafaa lived in limbo not knowing if each day would be his last. Still Wafaa worked to improve his art\, cleaning toilets in the camp to earn the money for art supplies\, buying supplies for children for art therapy to help them to work through the horrors witnessed. His experiences developed within him an abhorrence of violence and oppression and strengthened his inner resolve. \n\n\n\nIn 1992\, Wafaa came to the United States and took classes to learn English. Then\, he began art studies at the University of New Mexico where he excelled. His art is of a political nature that speaks to oppression of the human spirit\, including that of women who are bound by the rules of culture. He has won many awards for his art as well as a scholarship to the Chicago Institute of Art for post graduate study. He is now teaching at that institution. \n\n\n\nIn addition\, Wafaa travels to give lectures on the oppressive nature of Saddam’s regime in the hope of informing people of the complexities of the situation as well as the atrocities committed and the importance of nonviolent means of ending conflict. It has been 14 years since he was last able to see his mother and younger siblings. He speaks to them on the phone to hear how they flee from one war torn city to another in an effort to find safety. His 21 year-old brother who was staunchly apolitical lost his life to stray American gunfire. His father died when his health deteriorated after the death of his youngest son.
URL:https://www.mediasanctuary.org/event/the-great-virtual-jihad-controversy-with-wafaa-bilal/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080318T190000
DTEND;TZID=America/New_York:20080318T210000
DTSTAMP:20220518T162404Z
CREATED:20080318T171000Z
LAST-MODIFIED:20220518T162404Z
UID:10000895-1205866800-1205874000@www.mediasanctuary.org
SUMMARY:The Yes Men Live!
DESCRIPTION:Anti-corporate pranksters give the inside scoop on their latest impersonations\, from representing Halliburton at a Gulf Coast reconstruction conference to being Exxon at Canada’s largest petroleum industry gathering. The Yes Men agree their way into fortified compounds of commerce\, ask questions\, and then smuggle out the stories of their hijinks to provide the public a glimpse at the behind-the-scenes world of business. The Yes Men are team players… but they play for the opposing team. \n\n\n\nEver wondered what makes The Yes Men tick? Check out this live-in-person presentation by The Yes Men and see clips from their upcoming film! NEW LOCATION: Christ Church United Methodist\, 35 State St. \n\n\n\n\n\n\n\nHighlights of Yes Men Adventures:\n\n\n\nVivoleum: Exxon’s Climate-Victim Candles (June\, 2007). Imposters posing as ExxonMobil and National Petroleum Council (NPC) representatives delivered an outrageous keynote speech to 300 oilmen at GO-EXPO\, Canada’s largest oil conference\, held at Stampede Park in Calgary\, Alberta. \n\n\n\nWharton: WTO Proposes Slavery for Africa (November\, 2006). At a Wharton Business School conference on business in Africa\, World Trade Organization representative Hanniford Schmidt announced the creation of a WTO initiative for “full private stewardry of labor” for the parts of Africa that have been hardest hit by the 500 years of Africa’s free trade with the West. \n\n\n\nHUD: HUD Secretary Jackson Announces New Direction for Agency (August\, 2006). Mayor Ray Nagin and Governor Kathleen Blanco speak. After pitching his administration’s policies in the usual way\, Nagin tells a long story in which truth and lie go skinny-dipping; lie steals truth’s clothes\, and truth chases after. “What you have is truth running naked after well-clothed lie.” \n\n\n\nSurvivaball: Halliburton solves global warming! (May\, 2006). “The SurvivaBall is designed to protect the corporate manager no matter what Mother Nature throws his or her way\,” said Fred Wolf\, a Halliburton representative who spoke today at the Catastrophic Loss conference held at the Ritz-Carlton hotel in Amelia Island\, Florida. “This technology is the only rational response to abrupt climate change\,” he said to an attentive and appreciative audience.
URL:https://www.mediasanctuary.org/event/the-yes-men-live/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening,Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080325T190000
DTEND;TZID=America/New_York:20080325T210000
DTSTAMP:20220614T170955Z
CREATED:20080325T171900Z
LAST-MODIFIED:20220614T170955Z
UID:10000898-1206471600-1206478800@www.mediasanctuary.org
SUMMARY:"State of Fear" with Filmmaker Pamela Yates
DESCRIPTION:Filmmaker Pamela Yates presents a screening of her award-winning film\, State of Fear\, bringing a new level of documentary storytelling to an epic tale of one nation’s journey through a war on terror. How can an open society balance demands for security with democracy? State of Fear dramatizes the human and societal costs a democracy faces when it embarks on a “war” against terror\, a “war” potentially without end\, all too easily exploited by unscrupulous leaders seeking personal political gain.  The film follows events in Peru\, yet it serves as a cautionary tale for a nation like the United States.   \n\n\n\nThe Truth Commission granted Skylight Pictures access to its extensive testimonial evidence from 20 years of violence\, as well as hundreds of hours of rarely seen archival material and thousands of exquisite still photographs that will help bring this timely story to an international audience. \n\n\n\nStill from State of Fear.\n\n\n\nAbout the Film:\n\n\n\nHow can an open society balance demands for security with democracy? State of Fear dramatizes the human and societal costs a democracy faces when it embarks on a “war” against terror\, a “war” potentially without end\, all too easily exploited by unscrupulous leaders seeking personal political gain. The film follows events in Peru\, yet it serves as a cautionary tale for a nation like the United States. \n\n\n\nFilmmakers Pamela Yates\, Paco de Onís and Peter Kinoy masterfully blend personal testimony\, history and archival footage to tell the story of escalating violence in the Andean nation and how fear of terrorism was used to undermine democracy\, making Peru a virtual dictatorship where official corruption replaced the rule of law. \n\n\n\nTerrorist attacks by Shining Path guerrillas provoked a military occupation of the countryside. Military justice replaced civil authority\, widespread abuses by the Peruvian army went unpunished\, and terrorism continued to spread. Nearly 70\,000 civilians eventually died at the hands of the Shining Path and the Peruvian military. Old-fashioned police intelligence finally subdued the terrorist threat but Peruvian leaders continued to use the fear of terrorism to gut the democracy\, making Peru a virtual dictatorship where a vast web of corruption replaced the rule of law. \n\n\n\nIn 2000 this autocratic regime collapsed beneath the weight of its own corruption\, and the new democratic government established a Truth and Reconciliation Commission that opened a door to the past\, throwing light on the relentless violence that had engulfed this Andean nation for twenty years. \n\n\n\n“A brilliant and moving film\, which is both a portrait of Peru and a chronicle of terror and response–fanaticism\, bravery\, heroism\, abject fear and the way everyone is affected by such events. It is what Orwell called the aim of great art\, which was both imaginative in craftsmanship and politically committed at its heart.” –Paul Theroux\, author
URL:https://www.mediasanctuary.org/event/state-of-fear-with-filmmaker-pamela-yates/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening,Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080404T190000
DTEND;TZID=America/New_York:20080404T210000
DTSTAMP:20220722T154749Z
CREATED:20080404T172900Z
LAST-MODIFIED:20220722T154749Z
UID:10000998-1207335600-1207342800@www.mediasanctuary.org
SUMMARY:"Strange Culture" Screening with Steve Kurtz
DESCRIPTION:Lynn Hershman Leeson’s Strange Culture (2007) is a brilliantly conceived documentary that breaks conventional rules to tell a story of post-9/11 paranoia and the risks artists face when their work questions government policies. The subject of this film- artists and college professor Steve Kurtz- has been charged as a suspected terrorist and faces up to 20 years in prison. He will be in attendance for this benefit event. NEW LOCATION: Christ Church\, 35 State St. \n\n\n\nCo-sponsored by the Department of the Arts at RPI. \n\n\n\nStill from Strange Culture.\n\n\n\n \n\n\n\nAbout the Film:\n\n\n\nArtist and college professor Steve Kurtz was preparing for a MASS MoCA exhibition that lets audiences test whether food has been genetically modified when\, days before the opening\, his wife tragically died of heart failure. Distraught\, Kurtz called 911\, but when medics arrived\, they became suspicious of his art supplies and called the FBI. Dozens of agents in haz-mat suits sifted through his home and impounded his computers\, books\, cat\, and even his wife’s body. The government held Kurtz as a suspected terrorist\, and\, nearly three years later\, the charges have not been dropped. He still faces up to 20 years in prison. \n\n\n\nBecause Kurtz cannot legally talk about the case\, Leeson enlists actors\, including Tilda Swinton\, Josh Kornbluth\, and Peter Coyote\, to interpret the story. Leeson skillfully weaves dramatic reenactment\, news footage\, animation\, testimonials\, and footage of Kurtz himself into a sophisticated documentary about post-9/11 paranoia and the risks artists face when their work questions government policies.
URL:https://www.mediasanctuary.org/event/strange-culture-screening-with-steve-kurtz/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening,Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080406T180000
DTEND;TZID=America/New_York:20080406T213000
DTSTAMP:20220331T174926Z
CREATED:20220331T174926Z
LAST-MODIFIED:20220331T174926Z
UID:10001349-1207504800-1207517400@www.mediasanctuary.org
SUMMARY:"Promised Paradise: How Can One Believe That Terrorism Leads To Heaven?" with Filmmaker Leonard Helmrich
DESCRIPTION:Leonard Retel Helmrich is an internationally recognized Indonesian filmmaker. His featured documentary The Eye of the Day (2001) made him famous in the documentary film world. The follow-up\, Shape of the Moon (2004)\, was selected for many important festivals and won the top documentary award at the Sundance Film Festival. In Helmrich’s Promised Paradise: How Can One Believe That Terrorism Leads To Heaven?\, the Jakarta-based Indonesian puppeteer and troubadour Agus Nur Amal travels to Bali to call to account the people who were responsible for the bomb attack on a nightclub there on 12 October 2002. Come early for a 6 PM potluck with the artist! \n\n\n\nCo-Sponsored by the Department of the Arts at RPI.  \n\n\n\n\n\n\n\nStill from Promised Paradise: How Can One Believe That Terrorism Leads To Heaven?\n\n\n\nAbout the Film:\n\n\n\nIn Promised Paradise: How Can One Believe That Terrorism Leads To Heaven?  the Jakarta-based Indonesian puppeteer and troubadour Agus Nur Amal travels to Bali to call to account the people who were responsible for the bomb attack on a nightclub there on 12 October 2002. Like in his theatre shows\, humour is his main weapon. Before an audience of children\, we see him enact the attack on the Word Trade Center inside a gigantic “TV set.” The doll of Osama Bin Laden swaying his hips gets his audience roaring with laughter. But people stop laughing when his shadow play about the WTC disaster changes into images of new bomb attacks in Indonesia–first on the Australian Embassy in September 2004\, and later in Bali in October 2005. Director Leonard Retel Helmrich\, the 2004 winner of the Joris Ivens Award with The Shape of the Moon (De Stand van de Maan)\, uses ingenious editing to have Agus talk with the brain behind the attack in a “TV interview.” Agus also consults a paranormal advisor and asks him where the perpetrators of the suicide attack are now. “Their heaven is our hell\,” is the conclusion. But while Agus is in Bali\, his friend Endang\, who is still in Jakarta\, falls prey to intolerance and violence. (Source: IDFA catalogue) \n\n\n\nAbout Leonard Retel Helmrich:\n\n\n\nLeonard Retel Helmrich’s work includes the short fiction film De Drenkeling (The Drowning Man)\, the feature-length film The Phoenix Mystery\, and the multiple award-winning documentary Moving Objects (1991). He shot several short documentaries before\, during and after Suharto stepped down as president of Indonesia. With his feature documentary The Eye of the Day\, he instantly became famous in the documentary film world and won many international awards. Shape of the Moon\, a follow-up to The Eye of the Day\, was selected for many important festivals including the top documentary award at the Sundance Film Festival.
URL:https://www.mediasanctuary.org/event/promised-paradise-how-can-one-believe-that-terrorism-leads-to-heaven-with-filmmaker-leonard-helmrich/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening,Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080408T190000
DTEND;TZID=America/New_York:20080408T210000
DTSTAMP:20220404T152143Z
CREATED:20220331T181251Z
LAST-MODIFIED:20220404T152143Z
UID:10001350-1207681200-1207688400@www.mediasanctuary.org
SUMMARY:African Film Festival Featuring "Bling\, A Planet Rock\," with Filmmaker Raquel Cepeda and "Growing Stronger"
DESCRIPTION:Filmmaker Raquel Cepeda presents Bling A Planet Rock (2007)\, a feature documentary by Raquel Cepeda\, takes a hard-hitting look at how “blinging” in the flashy world of commercial hip-hop played a role in the 10-year civil war in Sierra Leone. This film takes U.S. hip-hop celebrities Paul Wall\, Latin hip-hop artist Tego Calderon\, and Raekwon from Wu-Tang Clan on a journey to Sierra Leone’s diamond mining communities\, introducing them to former child soldiers\, refugees\, and local hip-hop artists.  \n\n\n\nIncluded in this screening is Growing Stronger (2005) by Tsitsi Dangarembga. After living a high profile life as a model and wife to the coach of the Zimbabwe national football team\, Tendayi Westerhof stunned the nation by becoming the first high profile person to go public about her HIV-positive status in 2002. Part of the African Film Festival program. \n\n\n\nBecause the Sanctuary has been shut down by the City of Troy in an action currently under investigation by the New York Civil Liberties Union\, historic A.M.E. Zion Church at 189 Fifth Avenue (corner of 103rd Street in north Troy) has offered sanctuary to the Sanctuary. \n\n\n\nLocal presentation of the African Film Festival is made possible with volunteer labor and hundreds of individual donations from patrons of The Sanctuary for Independent Media\, co-sponsored by the Arts Department at RPI\, A.M.E. Zion Church and the New York State Council on the Arts. \n\n\n\n\n\n\n\nProduction still from Bling: A Planet Rock. Photograph by Irena Mihova.\n\n\n\nAbout the African Film Festival at the Sanctuary for Independent Media:\n\n\n\nThe Sanctuary for Independent Media’s annual African Film Festival begins in Troy on Tuesday\, April 8\, 2008. We will be presenting four feature films (including\, on the opening night of the festival\, Bling: A Planet Rock director Raquel Cepeda)\, four short subjects and an evening of African music with Grammy Award-nominated kora master Mamadou Diabate and his quartet. \n\n\n\n“From Egypt to South Africa\, veteran filmmakers are using film to address the issues changing the face of the African continent today\,” said Mahen Bonetti\, founder and executive director of the AFF. “Additionally\, technology is empowering emerging filmmakers to add their voices to those telling Africa’s stories.” \n\n\n\nEach evening of the Festival features one full-length film and one short: on Tuesday\, April 8; Wednesday\, April 9; Tuesday\, April 15 and Wednesday\, April 16. Films begin at 7 PM. In addition\, the music of Malian kora great Mamadou Diabate and his ensemble will be featured live in a concert at 8 PM on Friday\, April 11. The film lineup includes: \n\n\n\nBling: A Planet Rock (Raquel Cepeda\, Sierra Leone/USA. 2007\, 90″) A documentary about American hip-hop culture’s obsession with diamonds—“blinging”—and all its social trappings\, and how this infatuation correlated with the ten-year conflict in Sierra Leone\, West Africa. The film follows three rappers—Paul Wall\, Tego Calderon\, and Raekwon—as they trek to the country to meet the survivors\, perpetrators and diamond miners in the country. The film also features Kanye West\, Juelz Santana\, Jadakiss and former child soldier/author Ishmael Beah. \n\n\n\nGrowing Stronger (Tsitsi Dangarembga\, Zimbabwe. 2005\, 30″) After living a high profile life as a model and wife to the then-coach of the Zimbabwe national football team\, Tendayi Westerhof stunned the nation by becoming the first high profile person to go public about her HIV positive status in 2002. Her enemies increased\, some going to the extent of calling her disclosure a publicity gimmick. This beautiful woman has gone on to become a public figure in a very different way\, as an elegant and glamorous AIDS activist in the world of modeling and the public media. \n\n\n\nAbout the Filmmakers:\n\n\n\nRaquel Cepeda is an award-winning editor and multi-media journalist\, producer and filmmaker\, as well as a multi-cultural media consultant specializing in translating news and social/global issues into an authentic language that is palatable to younger generations—18-34 years of age—stateside and abroad. Cepeda is the director and writer Bling: A Planet Rock\, co-produced with a19\, VH1\, and the United Nations Development Programme (UNDP). She also served as a creative consulting producer on From Mambo to Hip-Hop\, directed by Henry Chalfant (Style Wars) for PBS (2007). \n\n\n\nCurrently\, Cepeda is in production on BLOW US UP!\, a wartime concert documentary starring platinum selling rapper Paul Wall and TV Johnny who will journey into the past to see the future—in Iraq and Johnny’s homeland\, Vietnam. Following in the tradition of the highly acclaimed Bling: A Planet Rock\, BLOW US UP! uses the medium of hip-hop to engage a new audience in the history of two American wars\, a generation and musical genre apart from each other. \n\n\n\nMalian kora musician\, Mamadou Diabate is a member of the Mandinka West African jeli (musician caste) family. His musical lineage goes back seven centuries to the time of Sunjata Keita\, the conqueror of the Malian empire. Now based in the United States\, Mamadou performs around North America and Europe. Interested in bringing the kora to new audiences\, he has played with jazz and other contemporary artists\, however he remains rooted in the traditions of the Manding kora and his griot heritage. He is one of a handful remaining kora players that are keeping alive the kora tradition. \n\n\n\nAbout the African Film Festival\n\n\n\nThe African Film Festival (AFF) is a New York non-profit arts organization. The organization\, established in 1990\, began as an ad hoc committee of African and American artists and scholars. In the 1950s and ’60s\, African filmmakers began to create images of post-colonial Africa with nuanced understanding of Africa’s cultural diversity. Over the last half a century\, having sliced through stereotypes with exacting social critique\, African cinema has become a unique blend of aesthetic experimentation\, history\, and politics. As African nations have constructed modern identities from traditional and colonial experiences\, the role of visual culture in communicating these new transitional identities has immediacy for audiences around the world. The impetus for themes such as colonialism\, post-independence corruption\, and chronicles of “tribal” customs often erupts from the ironies of contemporary life. But African filmmakers also draw from springs of myth\, fantasy\, humor\, and magic to nourish a narrative sensibility in which tradition and modernity encounter each other. The oral traditions\, unique pacing\, and non-linear style of African story-telling have in fact become classifying characteristics of African filmmaking. This kind of art is a powerful intellectual and emotional force for social change.  \n\n\n\nAs the twenty-first century begins\, we are witnessing a great revolution in mass communications capabilities that drastically reduces the distances between cultures. Images\, sounds\, and ideas are being exchanged almost instantaneously\, creating dynamic hybrid cultures. As Western consumer culture has influenced global society\, so it has been invigorated by the differing sensibilities\, traditions\, and styles of other cultures. Likewise\, African film has evolved from its early exploration of colonialism into a new\, diasporic\, and international consciousness. For the past decade\, the African Film Festival has bridged the divide between post-colonial Africa and the American public through the medium of film. AFF’s unique place in the international arts community is distinguished not only by leadership in festival management but a comprehensive approach to the advocacy of African film and culture. We are particularly mindful of the many ways in which cinema is as much a medium of cultural exchange as an educational gate-way. \n\n\n\nAbout the AME Zion Church of Troy\, NY:\n\n\n\nDevoted to religious\, educational and social causes\, the African Methodist Episcopal Zion Church and its members have been instrumental in many of the freedom struggles of this nation\, dating back to the days when former slaves Frederick Douglass\, Sojourner Truth and Harriet Tubman led the first wave of Black social activism. Since that time\, A.M.E. Zion members have made other significant contributions. AME Zion Bishop Alexander Walters\, along with Dr. W.E.B. DuBois\, helped to found the NAACP. Bishop Walters was also a pioneering member of the Pan-African Congress\, and many of the denomination’s clergy and lay people were active participants in the Civil Rights Movement of the ’60s. \n\n\n\nA.M.E. Zion Church made the salvation of the whole person–mind\, body and spirit–its top priority. At the crux of its ministry lay racial justice\, peace and harmony\, thus earning it the title\, the Freedom Church. \n\n\n\nAs the ministry expanded\, so did the denomination’s emphasis on education. “In order to succeed in American society as productive citizens\, we [the newly freed slaves] need to become an educated citizenry\,” an early AME Zion member once said. In keeping with that goal\, the Church maintains four colleges and universities today\, which are Livingstone College in Salisbury\, N.C.\, Clinton Junior College in Rock Hill\, S.C.\, and Lomax-Hannon Junior College in Greenville\, Alabama\, and A.M.E. Zion University in Monrovia\, Liberia. Additionally it maintains two theological seminaries\, Hood Theological Seminary in Salisbury\, NC and Hood Speaks Theological Seminary in Akwa Ibom State\, Nigeria. \n\n\n\nAlong with its emphasis on ministry and social change here in the United States\, the denomination has focused much of its attention and energies on outreach abroad. To date\, the A.M.E. Zion Church has member churches on all continents except Australia. In West Africa\, in particular\, the denomination has set up numerous schools and clinics throughout Ghana and Nigeria. The Church also has facilities in Liberia\, though some of its main structures have been destroyed by civil war. Overseas missions are a crucial component of the A.M.E. Zion Church’s outreach\, but the denomination believes in charity starting at home. That is why\, over the years\, several individual churches have implemented programs to help families to find low-income housing\, jobs\, financial planning assistance\, health care and day care services. “Our concern is for the whole person\,” says Bishop Cecil Bishop\, the (retired former) senior bishop of the A.M.E. Zion Church. “We have a holistic approach and a holistic gospel. We don’t feel that we live in a kind of compartmentalized sense\, but that life is a complete whole. So we have to be concerned about all of those amenities of life that help make up wholeness in an individual.” \n\n\n\nAbout The Sanctuary for Independent Media:\n\n\n\nThe Sanctuary for Independent Media is a telecommunications production facility dedicated to community media arts\, located in an historic former church in north Troy\, NY. The Sanctuary hosts screening\, production and performance facilities\, training in media production and a meeting space for artists\, activists and independent media makers of all kinds. On March 11\, 2008 the City of Troy closed The Sanctuary for Independent Media for alleged code violations just hours after the opening of a controversial series focusing on government intimidation and censorship under the guise of counter-terrorism. While the matter is being investigated by the NY Civil Liberties Union\, public events are being presented at Sanctuaries-in-exile throughout the Capital Region. \n\n\n\nAbout Rensselaer Polytechnic’s Department of the Arts:\n\n\n\nThe Department of the Arts at Rensselaer was founded in 1972. It is built around a world class faculty and is dedicated to interdisciplinary creative research in electronic arts\, offering a unique environment in which to develop and realize innovative art within a technological university. iEAR Presents! is a series of public performances\, exhibitions\, screenings and lectures. Curated by artist faculty\, iEAR Presents! seeks to bring artists into a creative dialogue regarding integrated electronic arts practice and theory with a participatory community of faculty and students from Rensselaer Polytechnic Institute and members of the general public.
URL:https://www.mediasanctuary.org/event/african-film-festival-featuring-bling-a-planet-rock-with-filmmaker-raquel-cepeda-and-growing-stronger/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening,Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080409T190000
DTEND;TZID=America/New_York:20080409T213000
DTSTAMP:20220415T155441Z
CREATED:20220401T160430Z
LAST-MODIFIED:20220415T155441Z
UID:10001602-1207767600-1207776600@www.mediasanctuary.org
SUMMARY:African Film Festival Featuring "Clouds Over Conakry\," plus "Mama Put"
DESCRIPTION:Part of the African Film Festival\, a screening of Clouds Over Conakry (2007) by Cheick Fantamady Camara. At the age of 25\, the artist-caricaturist BB finds himself faced with an impossible choice. Son of Karamo\, the inflexible imam (who is also the guardian of his village’s ancestral traditions)\, BB is chosen to be his father’s worthy successor. But he refuses to accept his destiny\, preferring to fight to exert his trade freely and to live his love for the beautiful young computer scientist\, Kesso\, to the full. Presented with Seke Somolu’s Mama Put  (2006). The power of food to transform\, rescue\, and wreak revenge is eloquently demonstrated in this Nigerian film.  \n\n\n\nBecause the Sanctuary has been shut down by the City of Troy in an action currently under investigation by the New York Civil Liberties Union\, historic A.M.E. Zion Church at 189 Fifth Avenue (corner of 103rd Street in north Troy) has offered sanctuary to the Sanctuary. \n\n\n\nLocal presentation of the African Film Festival is made possible with volunteer labor and hundreds of individual donations from patrons of The Sanctuary for Independent Media\, co-sponsored by the Arts Department at RPI\, A.M.E. Zion Church and the New York State Council on the Arts. \n\n\n\n\n\n\n\nFilm still from Clouds Over Conakry.\n\n\n\nAbout the Films:\n\n\n\nClouds Over Conakry (Cheick Fantamady Camara\, Guinea. 2007\, 113″). A romantic twist on the standby theme of African cinema\, traditionalism vs. modernism\, as a lovestruck cartoonist learns the spirits have chosen him instead of his religious older brother to succeed his father as imam of Guinea’s capital\, Conakry. But he refuses to accept his destiny\, preferring to fight to exert his trade freely and to live his love to the full. \n\n\n\nMama Put (Seke Somolu\, Nigeria. 2006\, 26″). The power of food to transform\, rescue and wreak revenge is eloquently demonstrated in this Nigerian film. A single woman\, who makes and sells street food\, is struggling to bring up her family. Her young son desperately needs kidney treatment\, and just when it seems things can get no worse\, a gang of armed youths break in to the house. The mother decides that the gang must go\, and prepares a meal to send them on their way. \n\n\n\nAbout the African Film Festival\n\n\n\nThe African Film Festival (AFF) is a New York non-profit arts organization. The organization\, established in 1990\, began as an ad hoc committee of African and American artists and scholars. In the 1950s and ’60s\, African filmmakers began to create images of post-colonial Africa with nuanced understanding of Africa’s cultural diversity. Over the last half a century\, having sliced through stereotypes with exacting social critique\, African cinema has become a unique blend of aesthetic experimentation\, history\, and politics. As African nations have constructed modern identities from traditional and colonial experiences\, the role of visual culture in communicating these new transitional identities has immediacy for audiences around the world. The impetus for themes such as colonialism\, post-independence corruption\, and chronicles of “tribal” customs often erupts from the ironies of contemporary life. But African filmmakers also draw from springs of myth\, fantasy\, humor\, and magic to nourish a narrative sensibility in which tradition and modernity encounter each other. The oral traditions\, unique pacing\, and non-linear style of African story-telling have in fact become classifying characteristics of African filmmaking. This kind of art is a powerful intellectual and emotional force for social change.  \n\n\n\nAs the twenty-first century begins\, we are witnessing a great revolution in mass communications capabilities that drastically reduces the distances between cultures. Images\, sounds\, and ideas are being exchanged almost instantaneously\, creating dynamic hybrid cultures. As Western consumer culture has influenced global society\, so it has been invigorated by the differing sensibilities\, traditions\, and styles of other cultures. Likewise\, African film has evolved from its early exploration of colonialism into a new\, diasporic\, and international consciousness. For the past decade\, the African Film Festival has bridged the divide between post-colonial Africa and the American public through the medium of film. AFF’s unique place in the international arts community is distinguished not only by leadership in festival management but a comprehensive approach to the advocacy of African film and culture. We are particularly mindful of the many ways in which cinema is as much a medium of cultural exchange as an educational gate-way. \n\n\n\nAbout the AME Zion Church of Troy\, NY:\n\n\n\nDevoted to religious\, educational and social causes\, the African Methodist Episcopal Zion Church and its members have been instrumental in many of the freedom struggles of this nation\, dating back to the days when former slaves Frederick Douglass\, Sojourner Truth and Harriet Tubman led the first wave of Black social activism. Since that time\, A.M.E. Zion members have made other significant contributions. AME Zion Bishop Alexander Walters\, along with Dr. W.E.B. DuBois\, helped to found the NAACP. Bishop Walters was also a pioneering member of the Pan-African Congress\, and many of the denomination’s clergy and lay people were active participants in the Civil Rights Movement of the ’60s. \n\n\n\nA.M.E. Zion Church made the salvation of the whole person–mind\, body and spirit–its top priority. At the crux of its ministry lay racial justice\, peace and harmony\, thus earning it the title\, the Freedom Church. \n\n\n\nAs the ministry expanded\, so did the denomination’s emphasis on education. “In order to succeed in American society as productive citizens\, we [the newly freed slaves] need to become an educated citizenry\,” an early AME Zion member once said. In keeping with that goal\, the Church maintains four colleges and universities today\, which are Livingstone College in Salisbury\, N.C.\, Clinton Junior College in Rock Hill\, S.C.\, and Lomax-Hannon Junior College in Greenville\, Alabama\, and A.M.E. Zion University in Monrovia\, Liberia. Additionally it maintains two theological seminaries\, Hood Theological Seminary in Salisbury\, NC and Hood Speaks Theological Seminary in Akwa Ibom State\, Nigeria. \n\n\n\nAlong with its emphasis on ministry and social change here in the United States\, the denomination has focused much of its attention and energies on outreach abroad. To date\, the A.M.E. Zion Church has member churches on all continents except Australia. In West Africa\, in particular\, the denomination has set up numerous schools and clinics throughout Ghana and Nigeria. The Church also has facilities in Liberia\, though some of its main structures have been destroyed by civil war. Overseas missions are a crucial component of the A.M.E. Zion Church’s outreach\, but the denomination believes in charity starting at home. That is why\, over the years\, several individual churches have implemented programs to help families to find low-income housing\, jobs\, financial planning assistance\, health care and day care services. “Our concern is for the whole person\,” says Bishop Cecil Bishop\, the (retired former) senior bishop of the A.M.E. Zion Church. “We have a holistic approach and a holistic gospel. We don’t feel that we live in a kind of compartmentalized sense\, but that life is a complete whole. So we have to be concerned about all of those amenities of life that help make up wholeness in an individual.” \n\n\n\nAbout The Sanctuary for Independent Media:\n\n\n\nThe Sanctuary for Independent Media is a telecommunications production facility dedicated to community media arts\, located in an historic former church in north Troy\, NY. The Sanctuary hosts screening\, production and performance facilities\, training in media production and a meeting space for artists\, activists and independent media makers of all kinds. On March 11\, 2008 the City of Troy closed The Sanctuary for Independent Media for alleged code violations just hours after the opening of a controversial series focusing on government intimidation and censorship under the guise of counter-terrorism. While the matter is being investigated by the NY Civil Liberties Union\, public events are being presented at Sanctuaries-in-exile throughout the Capital Region. \n\n\n\nAbout Rensselaer Polytechnic Department of the Arts:\n\n\n\nThe Department of the Arts at Rensselaer was founded in 1972. It is built around a world class faculty and is dedicated to interdisciplinary creative research in electronic arts\, offering a unique environment in which to develop and realize innovative art within a technological university. iEAR Presents! is a series of public performances\, exhibitions\, screenings and lectures. Curated by artist faculty\, iEAR Presents! seeks to bring artists into a creative dialogue regarding integrated electronic arts practice and theory with a participatory community of faculty and students from Rensselaer Polytechnic Institute and members of the general public.
URL:https://www.mediasanctuary.org/event/african-film-festival-featuring-clouds-over-conakry-plus-mama-put/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080415T190000
DTEND;TZID=America/New_York:20080415T213000
DTSTAMP:20220404T145612Z
CREATED:20220401T165607Z
LAST-MODIFIED:20220404T145612Z
UID:10001603-1208286000-1208295000@www.mediasanctuary.org
SUMMARY:African Film Festival featuring "Juju Factory\," plus "Menged"
DESCRIPTION:As part of the African Film Festival\, we present a screening of Balfua Bakupu-Kanyinda’s film Juju Factory (2007). Kongo Congo lives in Brussels\, in the Matange district on which he is writing a book. His editor wants a kind of traveler’s book spiced with ethnic ingredients. However\, the writer is inspired by the vision of complex and tormented souls that he meets at all crossings. Through his writing\, he meditates upon the invisible connections between Congolese history and its ghosts. How is it possible to stand upright in this chaotic history? By having the “juju”\, self confidence\, and Beatrice’s love.  \n\n\n\nScreened with Jean-Pierre Bekolo’s Menged (2006). Adopted from an Ethiopian folktale\, this film is very much a parable for Ethiopia today. A country in transition between modernism and traditional belief.  \n\n\n\nBecause the Sanctuary has been shut down by the City of Troy in an action currently under investigation by the New York Civil Liberties Union\, historic A.M.E. Zion Church at 189 Fifth Avenue (corner of 103rd Street in north Troy) has offered sanctuary to the Sanctuary.  \n\n\n\nLocal presentation of the African Film Festival is made possible with volunteer labor and hundreds of individual donations from patrons of The Sanctuary for Independent Media\, co-sponsored by the Arts Department at RPI\, A.M.E. Zion Church and the New York State Council on the Arts. \n\n\n\n\n\n\n\nStill from Balfua Bakupu-Kanyinda’s film Juju Factory. \n\n\n\nAbout the African Film Festival:\n\n\n\nThe African Film Festival (AFF) is a New York non-profit arts organization. The organization\, established in 1990\, began as an ad hoc committee of African and American artists and scholars. In the 1950s and ’60s\, African filmmakers began to create images of post-colonial Africa with nuanced understanding of Africa’s cultural diversity. Over the last half a century\, having sliced through stereotypes with exacting social critique\, African cinema has become a unique blend of aesthetic experimentation\, history\, and politics. As African nations have constructed modern identities from traditional and colonial experiences\, the role of visual culture in communicating these new transitional identities has immediacy for audiences around the world. The impetus for themes such as colonialism\, post-independence corruption\, and chronicles of “tribal” customs often erupts from the ironies of contemporary life. But African filmmakers also draw from springs of myth\, fantasy\, humor\, and magic to nourish a narrative sensibility in which tradition and modernity encounter each other. The oral traditions\, unique pacing\, and non-linear style of African story-telling have in fact become classifying characteristics of African filmmaking. This kind of art is a powerful intellectual and emotional force for social change.  \n\n\n\nAs the twenty-first century begins\, we are witnessing a great revolution in mass communications capabilities that drastically reduces the distances between cultures. Images\, sounds\, and ideas are being exchanged almost instantaneously\, creating dynamic hybrid cultures. As Western consumer culture has influenced global society\, so it has been invigorated by the differing sensibilites\, traditions\, and styles of other cultures. Likewise\, African film has evolved from its early exploration of colonialism into a new\, diasporic\, and international consciousness. For the past decade\, the African Film Festival has bridged the divide between post-colonial Africa and the American public through the medium of film. AFF’s unique place in the international arts community is distinguished not only by leadership in festival management but a comprehensive approach to the advocacy of African film and culture. We are particularly mindful of the many ways in which cinema is as much a medium of cultural exchange as an educational gate-way. \n\n\n\nAbout the A.M.E. Zion Church of Troy\, NY:\n\n\n\nDevoted to religious\, educational and social causes\, the A.M.E. Zion Church and its members have been instrumental in many of the freedom struggles of this nation\, dating back to the days when former slaves Frederick Douglass\, Sojourner Truth and Harriet Tubman led the first wave of Black social activism. Since that time\, A.M.E. Zion members have made other significant contributions. AME Zion Bishop Alexander Walters\, along with Dr. W.E.B. DuBois\, helped to found the NAACP. Bishop Walters was also a pioneering member of the Pan-African Congress\, and many of the denomination’s clergy and lay people were active participants in the Civil Rights Movement of the ’60s. A.M.E. Zion Church made the salvation of the whole person–mind\, body and spirit–its top priority. At the crux of its ministry lay racial justice\, peace and harmony\, thus earning it the title\, the Freedom Church.  \n\n\n\nAs the ministry expanded\, so did the denomination’s emphasis on education. “In order to succeed in American society as productive citizens\, we [the newly freed slaves] need to become an educated citizenry\,” an early AME Zion member once said. In keeping with that goal\, the Church maintains four colleges and universities today\, which are Livingstone College in Salisbury\, N.C.\, Clinton Junior College in Rock Hill\, S.C.\, and Lomax-Hannon Junior College in Greenville\, Alabama\, and A.M.E. Zion University in Monrovia\, Liberia. Additionally it maintains two theological seminaries\, Hood Theological Seminary in Salisbury\, NC and Hood Speaks Theological Seminary in Akwa Ibom State\, Nigeria. Along with its emphasis on ministry and social change here in the United States\, the denomination has focused much of its attention and energies on outreach abroad. To date\, the A.M.E. Zion Church has member churches on all continents except Australia.  \n\n\n\nIn West Africa\, in particular\, the denomination has set up numerous schools and clinics throughout Ghana and Nigeria. The Church also has facilities in Liberia\, though some of its main structures have been destroyed by civil war. Overseas missions are a crucial component of the A.M.E. Zion Church’s outreach\, but the denomination believes in charity starting at home. That is why\, over the years\, several individual churches have implemented programs to help families to find low-income housing\, jobs\, financial planning assistance\, health care and day care services. “Our concern is for the whole person\,” says Bishop Cecil Bishop\, the (retired former) senior bishop of the A.M.E. Zion Church. “We have a holistic approach and a holistic gospel. We don’t feel that we live in a kind of compartmentalized sense\, but that life is a complete whole. So we have to be concerned about all of those amenities of life that help make up wholeness in an individual.” \n\n\n\nAbout The Sanctuary for Independent Media:\n\n\n\nThe Sanctuary for Independent Media is a telecommunications production facility dedicated to community media arts\, located in an historic former church in north Troy\, NY. The Sanctuary hosts screening\, production and performance facilities\, training in media production and a meeting space for artists\, activists and independent media makers of all kinds. On March 11\, 2008 the City of Troy closed The Sanctuary for Independent Media for code violations just hours after the opening of a controversial series focusing on government intimidation and censorship under the guise of counter-terrorism. While the matter is being investigated by the NY Civil Liberties Union\, public events are being presented at Sanctuaries-in-exile throughout the Capital Region. \n\n\n\nAbout the Rensselaer Polytechnic Department of the Arts\n\n\n\nThe Department of the Arts at Rensselaer was founded in 1972. It is built around a world class faculty and is dedicated to interdisciplinary creative research in electronic arts\, offering a unique environment in which to develop and realize innovative art within a technological university. iEAR Presents! is a series of public performances\, exhibitions\, screenings and lectures. Curated by artist faculty\, iEAR Presents! seeks to bring artists into a creative dialogue regarding integrated electronic arts practice and theory with a participatory community of faculty and students from Rensselaer Polytechnic Institute and members of the general public.
URL:https://www.mediasanctuary.org/event/african-film-festival-featuring-juju-factory-plus-menged/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080416T190000
DTEND;TZID=America/New_York:20080416T213000
DTSTAMP:20220404T151945Z
CREATED:20220305T231032Z
LAST-MODIFIED:20220404T151945Z
UID:10001589-1208372400-1208381400@www.mediasanctuary.org
SUMMARY:African Film Festival Featuring "Les Saignantes\," Plus "Meokgo and the Stick Fighter"
DESCRIPTION:Jean-Pierre Bekolo’s Les Saignantes (2005) is a superbly photographed\, stylishly edited\, and tastefully scored film about two young femmes fatales who set out to rid a futuristic country of its corrupt and sex-obsessed powerful men. Young\, attractive\, fashionable\, and lethal\, they are on a mission to change the destiny of their country. Reveling in its display of excess\, committed to aesthetics of cool\, this is one of the first science fiction films to come out of Africa. \n\n\n\nScreened with Teboho Malatshi’s Meokgo and the Stick Fighter (2006)\, the story of Kgotso\, a recluse stick fighter who lives a solitary life high up in the Maluti Mountains of Lesotho. Whilst tending sheep and playing his concertina\, he sees a beautiful and mysterious woman staring at him dreamily from the water. This story of unrequited love and sacrifice captures both the cruelty and the beauty of African magical beliefs. Part of the African Film Festival program. \n\n\n\nBecause the Sanctuary has been shut down by the City of Troy in an action currently under investigation by the New York Civil Liberties Union\, historic A.M.E. Zion Church at 189 Fifth Avenue (corner of 103rd Street in north Troy) has offered sanctuary to the Sanctuary. \n\n\n\nLocal presentation of the African Film Festival is made possible with volunteer labor and hundreds of individual donations from patrons of The Sanctuary for Independent Media\, co-sponsored by the Arts Department at RPI\, A.M.E. Zion Church and the New York State Council on the Arts. \n\n\n\n\n\n\n\nFilm still from Jean-Pierre Bekolo’s Les Saignantes (2005).\n\n\n\nAbout the African Film Festival:\n\n\n\nThe African Film Festival (AFF) is a New York non-profit arts organization. The organization\, established in 1990\, began as an ad hoc committee of African and American artists and scholars. In the 1950s and ’60s\, African filmmakers began to create images of post-colonial Africa with nuanced understanding of Africa’s cultural diversity. Over the last half a century\, having sliced through stereotypes with exacting social critique\, African cinema has become a unique blend of aesthetic experimentation\, history\, and politics. As African nations have constructed modern identities from traditional and colonial experiences\, the role of visual culture in communicating these new transitional identities has immediacy for audiences around the world. The impetus for themes such as colonialism\, post-independence corruption\, and chronicles of “tribal” customs often erupts from the ironies of contemporary life. But African filmmakers also draw from springs of myth\, fantasy\, humor\, and magic to nourish a narrative sensibility in which tradition and modernity encounter each other. The oral traditions\, unique pacing\, and non-linear style of African story-telling have in fact become classifying characteristics of African filmmaking. This kind of art is a powerful intellectual and emotional force for social change.  \n\n\n\nAs the twenty-first century begins\, we are witnessing a great revolution in mass communications capabilities that drastically reduces the distances between cultures. Images\, sounds\, and ideas are being exchanged almost instantaneously\, creating dynamic hybrid cultures. As Western consumer culture has influenced global society\, so it has been invigorated by the differing sensibilities\, traditions\, and styles of other cultures. Likewise\, African film has evolved from its early exploration of colonialism into a new\, diasporic\, and international consciousness. For the past decade\, the African Film Festival has bridged the divide between post-colonial Africa and the American public through the medium of film. AFF’s unique place in the international arts community is distinguished not only by leadership in festival management but a comprehensive approach to the advocacy of African film and culture. We are particularly mindful of the many ways in which cinema is as much a medium of cultural exchange as an educational gate-way. \n\n\n\nAbout the AME Zion Church of Troy\, NY:\n\n\n\nDevoted to religious\, educational and social causes\, the African Methodist Episcopal Zion Church and its members have been instrumental in many of the freedom struggles of this nation\, dating back to the days when former slaves Frederick Douglass\, Sojourner Truth and Harriet Tubman led the first wave of Black social activism. Since that time\, A.M.E. Zion members have made other significant contributions. AME Zion Bishop Alexander Walters\, along with Dr. W.E.B. DuBois\, helped to found the NAACP. Bishop Walters was also a pioneering member of the Pan-African Congress\, and many of the denomination’s clergy and lay people were active participants in the Civil Rights Movement of the ’60s. \n\n\n\nA.M.E. Zion Church made the salvation of the whole person–mind\, body and spirit–its top priority. At the crux of its ministry lay racial justice\, peace and harmony\, thus earning it the title\, the Freedom Church. \n\n\n\nAs the ministry expanded\, so did the denomination’s emphasis on education. “In order to succeed in American society as productive citizens\, we [the newly freed slaves] need to become an educated citizenry\,” an early AME Zion member once said. In keeping with that goal\, the Church maintains four colleges and universities today\, which are Livingstone College in Salisbury\, N.C.\, Clinton Junior College in Rock Hill\, S.C.\, and Lomax-Hannon Junior College in Greenville\, Alabama\, and A.M.E. Zion University in Monrovia\, Liberia. Additionally it maintains two theological seminaries\, Hood Theological Seminary in Salisbury\, NC and Hood Speaks Theological Seminary in Akwa Ibom State\, Nigeria. \n\n\n\nAlong with its emphasis on ministry and social change here in the United States\, the denomination has focused much of its attention and energies on outreach abroad. To date\, the A.M.E. Zion Church has member churches on all continents except Australia. In West Africa\, in particular\, the denomination has set up numerous schools and clinics throughout Ghana and Nigeria. The Church also has facilities in Liberia\, though some of its main structures have been destroyed by civil war. Overseas missions are a crucial component of the A.M.E. Zion Church’s outreach\, but the denomination believes in charity starting at home. That is why\, over the years\, several individual churches have implemented programs to help families to find low-income housing\, jobs\, financial planning assistance\, health care and day care services. “Our concern is for the whole person\,” says Bishop Cecil Bishop\, the (retired former) senior bishop of the A.M.E. Zion Church. “We have a holistic approach and a holistic gospel. We don’t feel that we live in a kind of compartmentalized sense\, but that life is a complete whole. So we have to be concerned about all of those amenities of life that help make up wholeness in an individual.” \n\n\n\nAbout The Sanctuary for Independent Media:\n\n\n\nThe Sanctuary for Independent Media is a telecommunications production facility dedicated to community media arts\, located in an historic former church in north Troy\, NY. The Sanctuary hosts screening\, production and performance facilities\, training in media production and a meeting space for artists\, activists and independent media makers of all kinds. On March 11\, 2008 the City of Troy closed The Sanctuary for Independent Media for alleged code violations just hours after the opening of a controversial series focusing on government intimidation and censorship under the guise of counter-terrorism. While the matter is being investigated by the NY Civil Liberties Union\, public events are being presented at Sanctuaries-in-exile throughout the Capital Region. \n\n\n\nAbout Rensselaer Polytechnic’s Department of the Arts:\n\n\n\nThe Department of the Arts at Rensselaer was founded in 1972. It is built around a world class faculty and is dedicated to interdisciplinary creative research in electronic arts\, offering a unique environment in which to develop and realize innovative art within a technological university. iEAR Presents! is a series of public performances\, exhibitions\, screenings and lectures. Curated by artist faculty\, iEAR Presents! seeks to bring artists into a creative dialogue regarding integrated electronic arts practice and theory with a participatory community of faculty and students from Rensselaer Polytechnic Institute and members of the general public.
URL:https://www.mediasanctuary.org/event/african-film-festival-featuring-les-saignantes-plus-meokgo-and-the-stick-fighter/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080530T190000
DTEND;TZID=America/New_York:20080530T213000
DTSTAMP:20230626T145254Z
CREATED:20080530T162100Z
LAST-MODIFIED:20230626T145254Z
UID:10001606-1212174000-1212183000@www.mediasanctuary.org
SUMMARY:Termite TV Collective Talk and Screening
DESCRIPTION:Termite TV is a video collective with members based in Philadelphia\, Baltimore and Buffalo. Founded in 1992 with a mission to create experimental and activist work to challenge the status quo and provide an alternative to corporate media. Termite TV has produced more than 40 programs broadcast nationally on television and screened at festivals and museums worldwide. The presentation will take place at Digital Artist Space\, 27 2nd Street in downtown Troy.
URL:https://www.mediasanctuary.org/event/termite-tv-collective-talk-and-screening/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080531T200000
DTEND;TZID=America/New_York:20080531T220000
DTSTAMP:20230626T153438Z
CREATED:20080531T144300Z
LAST-MODIFIED:20230626T153438Z
UID:10000831-1212264000-1212271200@www.mediasanctuary.org
SUMMARY:"Venezuela Rising" screening with Filmmaker Jennifer Wager
DESCRIPTION:As seen through the eyes of grandmother and community organizer Gladys Bolivar\, the documentary Venezuela Rising follows her and her compatriots five days before it is to be decided by popular referendum whether Venezuelan President Hugo Chavez will continue in office or step down. The entire nation has been mobilized–will it be SI–yes he will be recalled\, or NO–he will remain in office. Most in Venezuela feel that no less than the entire future of their country is at stake. \n\n\n\nIssues of democracy and politics are addressed–what constitutes a free and fair election–and is that enough to ensure citizen participation? How are elections the ultimate measure of a thriving democracy? \n\n\n\nVenezuela Rising gets behind the headlines and into the neighborhoods of Caracas to find out how participatory democracy works on the ground.Jennifer Wager is a NYC media educator and director of the film. She currently teaches video production and post-production at Manhattan Neighborhood Network\, the flagship community TV station in the U.S. \n\n\n\nShe also serves on the board of the National Mobilization Against Sweatshops\, with whom she has facilitated a community video oral history project\, producing a DVD and Web-based series of short films on the lives of immigrant and working class women from the Lower East Side. Since 1995\, Ms. Wager has created several online experimental education projects\, including the Smithsonian-award winning W.E.B. Du Bois Virtual University. Ms. Wager holds a M.A. in African Studies from Ohio State University and a M.A. in Communication and Technology from Georgetown University. This is her second documentary on Venezuela. Her first\, Hij@s de Bolivar\, was shot in the months immediately following the 2002 coup.
URL:https://www.mediasanctuary.org/event/venezuela-rising-screening-with-filmmaker-jennifer-wager/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080606T190000
DTEND;TZID=America/New_York:20080606T213000
DTSTAMP:20230626T154227Z
CREATED:20080606T145500Z
LAST-MODIFIED:20230626T154227Z
UID:10000832-1212778800-1212787800@www.mediasanctuary.org
SUMMARY:"The Lost Generation" with Filmmaker Sharmeen Obaid-Chinoy
DESCRIPTION:Internationally-celebrated filmmaker Sharmeen Obaid-Chinoy will speak at a screening of her new film The Lost Generation at The Sanctuary for Independent Media on Friday\, June 6\, 2008 at 7 PM. Admission is by donation ($10 suggested\, $5 student/low income). \n\n\n\nLocal presentation of Sharmeen Obaid-Chinoy is co-sponsored by Bethlehem Neighbors for Peace\, made possible by volunteer labor and small financial contributions from hundreds of patrons of The Sanctuary For Independent Media. \n\n\n\nSharmeen Obaid-Chinoy is the first non-American journalist to be awarded the prestigious Livingston Award and the youngest recipient of the One World Media broadcast journalist of the year award in the United Kingdom. \n\n\n\nOver the past seven years she has produced and reported on 13 films for major networks in the United States and Britain including CNN\, PBS\, Channel 4 (U.K.) and the Discovery channel. Her work has earned her major awards in broadcast journalism including the Overseas Press Club Award\, The American women and Radio and Television award\, The Cine Golden Eagle Award\, The Banff TV Rockie award and the South Asian Journalist Award. \n\n\n\nIn her latest film–The Lost Generation (2008)–filmmaker Sharmeen Obaid-Chinoy investigates the biggest and most catastrophic refugee crisis in the Middle East since the Palestinian diaspora of 1948. \n\n\n\nIn the past five years more than four million Iraqis–20 per cent of the entire population–have been driven from their homes as a result of the war and sectarian bloodshed. Two million have become exiles\, living desperate lives across the border in Syria and Jordan. \n\n\n\nThe film travels to Syria and Jordan to investigate the plight of Iraqi refugees. These are the very people on whom the new\, democratic Iraq was to be built–the professional middle classes–nearly half of whom now live as desperate refugees\, driven out by the violence and civil breakdown. \n\n\n\nSharmeen’s work has taken her to more than ten countries around the world. Her career in documentary filmmaking began when she examined the plight of Afghani refugee children in Pakistan for one of her articles. Their situation was so dire\, and their stories so compelling\, that Sharmeen decided to return to Pakistan and create a film about them. She petitioned Smith College and New York Times Television production division for the grants that would allow her to accomplish her goals. Intrigued by her story\, both organizations gave her the funds as well as production equipment and training. \n\n\n\nBorn in Karachi\, Sharmeen Obaid-Chinoy was the first woman in her Pakistani family to receive a Western education. Obaid graduated from Smith College with a bachelor of arts in economics and government and then went to complete two master’s degrees from Stanford University in International Policy Studies and Communication.
URL:https://www.mediasanctuary.org/event/the-lost-generation-with-filmmaker-sharmeen-obaid-chinoy/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080912T190000
DTEND;TZID=America/New_York:20080912T210000
DTSTAMP:20220404T163046Z
CREATED:20080921T154700Z
LAST-MODIFIED:20220404T163046Z
UID:10001017-1221246000-1221253200@www.mediasanctuary.org
SUMMARY:"Body of War" with Filmmaker Dee Dee Halleck
DESCRIPTION:Tomas Young\, 25 years old\, was paralyzed by a bullet to his spine after serving in Iraq for less than a week. Body of War (2007) follows Tomas as he comes to terms with his disability and finds his own unique and passionate voice against the war. This documentary was produced and directed by Phil Donahue and Ellen Spiro. Legendary community media activist Dee Dee Halleck\, who played a major role in bringing this story to film\, will speak about the film. Iraq War vet Tyler Boudreau will sign copies of his new book Packing Inferno: The Unmaking of a Marine. \n\n\n\nCo-sponsored by the Independent Living Center of the Hudson Valley\, Women Against War and Bethlehem Neighbors for Peace.
URL:https://www.mediasanctuary.org/event/body-of-war-with-filmmaker-dee-dee-halleck/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081016T190000
DTEND;TZID=America/New_York:20081016T210000
DTSTAMP:20230626T164557Z
CREATED:20081016T142500Z
LAST-MODIFIED:20230626T164557Z
UID:10000847-1224183600-1224190800@www.mediasanctuary.org
SUMMARY:"A Jihad for Love" with Filmmaker Parvez Sharma
DESCRIPTION:Muslim gay filmmaker Parvez Sharma has gone where the silence is loudest with a daring feature documentary\, A Jihad for Love (2007). Exploring the complex global intersections between Islam and homosexuality\, the film was created with great risk and secrecy in 9 languages and 12 countries where government permission was not an option. As a Muslim\, Parvez works from within the faith\, depicting Islam with the same respect that the film’s characters show for it.  \n\n\n\nCo-sponsored by Women Against War. \n\n\n\n\n\n\n\nStill from A Jihad for Love by Parvez Sharma \n\n\n\nPress Release:\n\n\n\nIn a time when Islam is under tremendous attack-from within and without-“A Jihad for Love” is a daring documentary filmed in twelve countries and nine languages. Muslim gay filmmaker Parvez Sharma has gone where the silence is loudest\, filming with great risk in nations where government permission to make this film was not an option. \n\n\n\n“A Jihad for Love” is Mr. Sharma’s debut and the world’s first feature documentary to explore the complex global intersections between Islam and homosexuality. Parvez enters the many worlds of Islam by illuminating multiple stories as diverse as Islam itself. The film travels a wide geographic arc presenting us lives from India\, Pakistan\, Iran\, Turkey\, Egypt\, South Africa andFrance. Always filming in secret and as a Muslim\, Parvez makes the film from within the faith\, depicting Islam with the same respect that the film’s characters show for it. “A Jihad for Love” is co-produced by Sandi DuBowski (director/producer of the award-winning “Trembling Before G-d”) in association with ZDF-Arte\, Channel 4\, LOGO\, SBS-Australia\, The Sundance Documentary Fund and The Katahdin Foundation. \n\n\n\nIn Western media\, the concept of “jihad” is often narrowly equated with holy war. But Jihad also has a deeper meaning\, its literal Arabic being “struggle” or “to strive in the path of God.” In this film we meet several characters engaged in their personal Jihad’s for love. The people in this film have a lot to teach us about love. Their pursuit of love has brought them into conflicts with their countries\, families\, and even themselves. Such is the quandary of being both homosexual and Muslim\, a combination so taboo that very little about it has been documented. \n\n\n\nAs a result the majority of gay and lesbian Muslims must travel a twisting\, lonely and often dangerous road. The majority of Muslims believe that homosexuality is forbidden by the Quran and many scholars quote Hadith (sayings attributed to the Prophet Muhammad) to directly condemn homosexuality. Islam\, already the second largest religion in the world\, is also the fastest growing. Fifty nations have a Muslim majority. In a few of those nations laws interpreted from alleged Quranic prohibitions of male homosexuality (lesbianism is allegedly absent from the Quran) are enforced by religious\, tribal or military authorities to monitor\, entrap\, imprison\, torture and even execute homosexuals. Even for those who migrate to Europe or North America and adopt Western personae of “gay” or “queer\,” the relative freedoms of new homelands are mitigated by persistent racial profiling and intensified state surveillance after the attacks of 9/11 and train bombings in Madrid and London. \n\n\n\nAs a result\, many gay and lesbian Muslims end up renouncing their religion completely. But the real-life characters of “A Jihad for Love” aren’t willing to abandon a faith they cherish and that sustains them. Instead\, they struggle to reconcile their ardent belief with the innate reality of their being. The international chorus of gay and lesbian Muslims brought together by “A Jihad for Love” doesn’t seek to vilify or reject Islam\, but rather negotiate a new relationship to it. In doing so\, the film’s extraordinary characters attempt to point the way for all Muslims to move beyond the hostile\, war-torn present\, toward a more hopeful future. As one can imagine\, it was a difficult decision for the subjects to participate in the film due to the violence they could face. It took the filmmaker six years to finish this film and he\, like those who have stepped forward to tell their stories\, feel that they are Islam’s most unlikely storytellers. All of them feel that this film is too important for over a billion Muslims-and all the non-Muslims in the world-for them to say no. They are willing to take the risk in their quest to lay equal claim to their profoundly held faith. \n\n\n\n“A Jihad for Love”’s characters each have vastly different personal takes on Islam\, some observing a rigorously orthodox regimen\, others leading highly secular lifestyles while remaining spiritually devout. As the camera attentively captures their stories\, the film’s gay and lesbian characters emerge in all their human complexity\, giving the viewer an honest rendering of their lives while complicating our assumptions about a monolithic Muslim community. \n\n\n\nCrucially\, this film speaks with a Muslim voice\, unlike other documentaries about sexual politics in Islam made by Western directors. In the hope of opening a dialogue that has been mostly non-existent\, in Islam’s recent history and defining jihad as a “struggle” rather than a “war\,” the film presents the struggle for love. \n\n\n\nParvez Sharma Biography:\n\n\n\nParvez Sharma (producer/director of “A Jihad for Love”) is a Muslim gay filmmaker born and raised in India. For three years\, Sharma worked as a broadcast journalist for Asia’s premiere and most highly-rated 24-hour news network\, the Star News Channel/NDTV\, covering major assignments across the Indian subcontinent and specializing in investigative/human rights stories and political profiles. He worked as producer and/or editor for BBC World Television’s Moneywise and IndiaTomorrow\, Central Television (UK)\, The Discovery Channel (US)\, and the World Bank Film and Video Unit (US). He was the assistant director for the award-winning feature\, “Dance of the Wind\,” produced by Pandora Film in Germany and NFDC India with director Rajan Khosa which won awards at the London\, Rotterdam and Nantes Film Festivals. In 2005\, he was a producer at Democracy Now!\, the nationally broadcast radio and television program which airs on 225 stations across North America with award-winning host Amy Goodman. He produced\, edited and did additional camera for the DVD of Peter Friedman’s Sundance Grand Jury Award winning film “Silverlake Life.” \n\n\n\nParvez Sharma received his bachelor’s degree in English Literature from Presidency College\, University of Calcutta (India) and three Masters degrees: Mass Communication (Film and Television) from India’s premier MCRC\, Jamia Millia Islamia University; Broadcast Journalism from the University of Wales College of Cardiff\, UK; and Film and Video from American University’s School of Communication. He has taught Indian film and other media courses at American University’s Department of Anthropology and its School of Communication in Washington\, DC. \n\n\n\nIn the nineties\, Sharma was a print journalist for several prominent Indian newspapers including The Telegraph\, The Statesman\, The Economic Times\, The Business Standard\, and India Currents Magazine. While at the Statesman he reported on what was the first ever detailing of the lesbian experience within India for a national newspaper-“Emerging from the Shadows” (July 3\, 1994)–which became a rallying point for lesbians around the country and was crucial in the formation of many lesbian organizations. As an activist he was instrumental in setting up the first organized LGBTQ effort in the eastern state of West Bengal\, setting benchmarks for many other LGBT organizing efforts around the subcontinent. Parvez has spoken internationally on distinguished film/media panels and panels on issues crucial to LGBT communities in a South Asian and Muslim context. He was a featured speaker at Yale University Law School\, at th Persistent Vision in San Francisco\, The Open Society Institute in New York\, The Center for Gay and Lesbian Studies in New York and at Amnesty International’s Human Rights Conference–Global Pride\, Global Action: Empowering the Spirit of Human Rights. \n\n\n\nSharma’s first feature documentary\, “A Jihad for Love\,” is co-produced with the UK’s Channel 4\, France’s ARTE\, Germany’s ZDF\, Australia’s SBS\, and U.S. MTV-LOGO. His work and the film have been profiled by The New York Times\, Variety\, The Atlantic Monthly\, Hollywood Reporter\, indieWIRE\, France’s Tetu Magazine\, San Francisco Gate\, on NPR-Chicago and numerous other publications. \n\n\n\nThe film has been supported by a wide number of foundations including The van Ameringen Foundation\, The Hartley Film Foundation\, The Mathilde Krim Foundation\, The Andrew Tobias Foundation-Stonewall Community Foundation\, the E. Rhodes and Leona B. Carpenter Foundation\, The Fledgling Fund\, The Bruce Bastion Foundation\, The Foundation for Fairer Capitalism\, The Ted Snowdon Foundation\, and The Mark D. Hostetter and Alexander N. Habib Foundation. He was honored with a nomination for a 2007 Rockefeller Film/Video/Multimedia Fellowship. \n\n\n\nWith his wide range of experience in film\, television and activism spanning three continents (Asia\, Europe\, and North America)\, and his proficiency in five languages (English\, Hindi\, Urdu\, Bengali\, and Punjabi)\, Sharma hopes to bring a rich cultural perspective and an honest and skillful depiction of Islam-and his very own communities- to this film and the courageous journeys it documents and the global dialogue it catalyzes.
URL:https://www.mediasanctuary.org/event/a-jihad-for-love-with-filmmaker-parvez-sharma/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
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DTSTART;TZID=America/New_York:20081024T190000
DTEND;TZID=America/New_York:20081024T210000
DTSTAMP:20230626T165926Z
CREATED:20081024T143700Z
LAST-MODIFIED:20230626T165926Z
UID:10000850-1224874800-1224882000@www.mediasanctuary.org
SUMMARY:"A Summer in the Cage" with Filmmaker Ben Selkow
DESCRIPTION:A Summer in the Cage (2007) is a stunning portrait of a battle with manic-depressive (bipolar) disorder that puts a human face on an illness that affects millions of American families. As this dramatic story unfolds\, it also becomes a unique tale about friendship and the ethical responsibilities of a documentary filmmaker. The intent was to make a film about successfully living with\, and managing\, a mental illness- but when the Hollywood ending proves too elusive\, the filmmaker and the subject are forced to ask themselves\, “When do you turn off the camera?”  \n\n\n\nThis event is co-sponsored by The Independent Living Center of the Hudson Valley. \n\n\n\nPress Release:\n\n\n\n“A Summer in the Cage” follows Selkow’s friend Sam for seven years ashe suffers delusional manic episodes\, battles paralyzing depressions\,and tries to escape the legacy of his father. By showing the difficultemotional impact of being bipolar on Sam\, his family\, and thefilmmaker\, “A Summer in the Cage” hopes to put a human face on anillness that affects millions of American families. But as thisdramatic story unfolds\, it also becomes a unique tale about friendshipand the ethical responsibilities of a documentary filmmaker. Theintent was to make a film about successfully living with\, andmanaging\, a mental illness. When the “Hollywood ending” proved tooelusive\, the filmmaker and the subject are forced to ask themselves\,“When do you turn off the camera?” \n\n\n\n“I saw this film earlier this year at a film festival\,” says Sanctuaryprogrammer Penny Lane\, “and I had never seen anything like it. Thevideo diaries made by Sam during his manias are some of the most rawand powerful images I have ever encountered.” Lane was compelled tobring the film and its maker to her community after witnessing thedialogue the film provoked in the audience. \n\n\n\n“Quite frankly\, one of the most powerful documentaries I have seen\,”says author Peter Earley (CRAZY: A Father’s Search Through America’sMental Health Madness)\, “I do not know of any other filmmaker who hascaptured the frantic highs of mania\, the devastation of depression androller coaster of ordinary life that a person with a diagnosis ofbipolar disorder experiences.” \n\n\n\nDr. Kay Redfield Jamison\, well known professor\, author and psychiatrist\, highly recommended the film\, calling it “powerful\, affecting and honest.” \n\n\n\nBen Selkow is the director/producer/director of photography/writer of “A Summer in the Cage\,” which premiered on the Sundance Channel in October 2007 and is being distributed for home video by Indiepix. The film was nominated for a 2008 Prism Bipolar Disorder Depiction Award.In 2003\, Ben was a participant in the annual Sundance Producer’sConference at the Sundance Institute in Utah.
URL:https://www.mediasanctuary.org/event/a-summer-in-the-cage-with-filmmaker-ben-selkow/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
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DTSTART;TZID=America/New_York:20081105T180000
DTEND;TZID=America/New_York:20081105T200000
DTSTAMP:20230705T153158Z
CREATED:20081105T155700Z
LAST-MODIFIED:20230705T153158Z
UID:10000853-1225908000-1225915200@www.mediasanctuary.org
SUMMARY:Filmmaker Matt McCormick
DESCRIPTION:A renowned artist and filmmaker whose success spans both the art and independent film worlds\, Matt is touring New York State with classic works like The Problem with Machines that Communicate and Light Tiger Eye as well as brand-spanking-new music videos\, absurdist narratives\, and random miscellaneous tidbits and surprises. Matt is also the founder of Peripheral Produce\, an internationally recognized video distribution label specializing in short experimental work\, and the director of the Portland Documentary and eXperimental Film Festival\, Portland’s premiere event for experimental\, documentary\, and otherwise obscure contemporary cinema. \n\n\n\nThis event is made possible by the Experimental Television Center’s Presentation Funds. The Experimental Television Center’s Presentation Funds program is supported by the New York State Council on the Arts. \n\n\n\nMore About Matt\n\n\n\nMatt McCormick is an artist\, filmmaker\, photographer\, and musician who has produced several well-received projects in recent years. His films defy genre distinctions and fashion witty\, abstract observations of contemporary culture and the urban landscape. His project Future So Bright maps and catalogs the abandoned spaces in the American West\, while American Nutria examines the plight of an imported species while chastising capitalism’s tendency to create its own disasters. The Subconscious Art of Graffiti Removal makes the observation that the process of destroying one art form unwittingly creates another\, while his installation piece Ride a Wave To Tomorrow’s Sunset reflects on society’s need for ‘synthetic meditation’. \n\n\n\nMatt’s work has been exhibited in film festivals\, art museums\, and microcinemas around the globe\, appeared on MTV and the Sundance Channel\, and received positive reviews from Art Forum\, The New York Times\, and Film Comment magazine. Matt has worked and collaborated with many artists and musicians\, including The Shins\, Miranda July\, Sleater-Kinney\, The Postal Service\, YACHT\, Patton Oswalt\, and Calvin Johnson. Matt has had three films screen at the Sundance Film Festival\, and been included in the traveling group exhibitions “Uncertain States of America” and “Baja to Vancouver.” He has received awards including Best Short Film from the San Francisco International Film Fest\, Best Experimental from the New York Underground Film Fest\, and Best Short from the Ann Arbor Film Fest\, and his film The Subconscious Art of Graffiti Removal was named in ‘Top 10 / Best of 2002’ lists in both The Village Voice and Art Forum magazine. Matt also won a 2007 Rosey Award for a series of global warming public service announcements he directed for MTV.
URL:https://www.mediasanctuary.org/event/filmmaker-matt-mccormick/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
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