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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:20081025T200000
DTEND;TZID=America/New_York:20081025T220000
DTSTAMP:20220722T160847Z
CREATED:20081025T193800Z
LAST-MODIFIED:20220722T160847Z
UID:10001024-1224964800-1224972000@www.mediasanctuary.org
SUMMARY:Morley
DESCRIPTION:Singer-songwriter Morley is a breath of fresh air in the current climate of political and social crisis. Her voice as a singer and as a lyricist is rich with honesty\, vulnerability\, introspection and compassion\, simultaneously gentle and urgent- a force that compels even the most cynical or apathetic to listen and be moved. Her newest recording\, Seen (2008)\, has just been released by Wrasse.  \n\n\n\nLocal presentation of Morley is made possible with the support from the New York State Council on the Arts. \n\n\n\n\n\n* More documentation below\n\n\n\nMore About Morely:\n\n\n\nIn the current social and political climate\, singer-songwriter Morley is a breath of fresh air. Her voice as a singer and as a lyricist is rich with honesty\, vulnerability\, introspection and compassion\, simultaneously gentle and urgent – a force that compels even the most cynical or apathetic to listen and be moved. Her newest album\, “Seen\,” is as reflective as it is generous. If music can be a mirror\, then this release is “a patient look into myself and a not-so-patient look into my country at this time\,” Morley explains. “To be looked at is one thing\, but to be seen is an experience.” \n\n\n\nSeen means “understood” in Jamaican patois. Its many meanings are explored and contextualized in different ways throughout the album. In “Bird Over The Ocean” Morley writes\, “All that is seen cannot be shown\,” while in “No Evidence” she discusses that which is “Sight unseen\, sound unheard\,” calling attention to the atrocities happening right in front of us to people whose voices are stifled or silenced behind a veil of false patriotism. “Temporary Lighthouses” (inspired by the Daniel Lanois album “Shine”) pays tribute to Morley’s musical heroes and heroines\, and you can hear echoes of Sade and Billie Holiday in her singing. Sure\, there are unabashed love songs\, like “Somebody New” and “Call On Me\,” but Morley’s political convictions unfold slowly\, surely\, with subtlety. By “No Evidence” we’re hearing about rape in the US military\, and “Crimes in the Garden” was inspired by the anti-war activist Cindy Sheehan. “Say What I Know” is an indictment of George W. Bush’s America\, and if there’s a “title track\,” it’s “Hearts Horn\,” which ties many themes together\, touching on the approaching environmental Armageddon. And of course\, there’s “Women of Hope\,” an homage to the many named and unnamed extraordinary women in war-torn countries who rise above and help others transcend circumstances to find hope. “A lot of the music that I’m drawn to is about growth and transformation\,” Morley says. “I believe in people’s capacity to change.” \n\n\n\nA former dance and yoga teacher in New York City’s public school system\, shelters and community centers\, Morley was born in Jamaica Queens\, New York. She spent her formative years absorbing the sights\, scents and sounds of this multi-ethnic community – an experience that clearly informs her worldview and the diversity of influences in her music. Morley’s artistic journey began not with music\, but with dance and poetry. She attended the Duke Ellington School of the Arts in Washington\, DC and won a full scholarship to the Alvin Ailey American Dance Centre. After a knee injury derailed her career as a dancer\, Morley briefly worked as a fashion model in England\, but she soon returned to NYC and took up choreography and formed her own company\, Undercurrents Dance Theater. With her new company up and running\, she had the opportunity to work with jazz legend and civil rights activist Max Roach\, an experience that brought her face to face with the power of music as a vehicle for change. Although she was profoundly inspired\, music wasn’t yet the vehicle for Morley to express her ideas. It was in the late ’90s\, when Morley was spending time with great musicians like Amp Fiddler\, Toshi Reagon\, Hod David (Maxwell) and Joan Wasser (Joan as Policewoman)\, that her musical voice began to emerge. “They’re heroes to me\, music just pours from them\,” she says. “Hod David gave me a track to write to just for fun\, and said ‘don’t write a protest song\, write a love song’ because everything I was writing was very political.” These experiments and explorations expanded her artistic expressions from dance and poetry into music\, and ultimately became the foundation for her first album\, Sun Machine (1998)\, produced by David with Chris Dowd (Fishbone)\, and featuring Jeff Buckley on guitar for one track and contributions from Nigerian percussionist Babatunde Olatunji. Unfortunately\, the label folded at the time of release and Morley continued teaching and doing choreography before music called her back in 2001\, when she resumed her writing and picked up the guitar for the first time. \n\n\n\nBy the next year\, she had started performing in earnest and establishing her presence as a musician. Her urban-folk sophomore album\, “Days Like These” (2006)\, was the culmination of the years that ensued\, performing and writing mainly in New York City. Self-released and self-produced with co-producer Ken Rich and licensed to Universal France\, Days Like These brought Morley together with her current production team of Jay Newland and Jean-Philippe Allard\, and was a hit in France. Joining them on Seen are a stellar cast of great musicians\, including pedal steel maestro Larry Campbell (Bob Dylan\, Levon Helm\, Liz Wright)\, whose tasty licks lend a widescreen Americana feel. \n\n\n\nOn Seen\, Morley writes songs of love as opposed to love songs. And like the heroines in “Women of Hope\,” Morley is a woman with hope. But wishful thinking isn’t where she’s at: “It’s not hoping and wishing for the best\, it’s finding the confidence to do what you can\,” she explains. In this tender tribute\, she quotes Burmese human rights activist and Nobel Peace Prize Laureate Aung San Suu Kyi: “If you’re feeling helpless\, help someone.” It evokes the power to heal ourselves and each other at the same time\, and generates global change through our individual journey. As Morley says\, “If we allow ourselves to have hope\, while everything around screams\, ‘you’re only one\, you’re helpless\,’ then we give energy to real change instead of fear and complacency.” \n\n\n\nMorley’s music is the energizing elixir to create that change. “Music changes the feeling of a room\, I see and feel it happen all the time. When I collaborate with musicians from other countries\, we merge. We don’t have to speak the same language\, share the same religion\, or even philosophies\, but we can make music together! That for me is evidence that we can live together in harmony. But a lot of us are cut off from our sensuality – the music within – and find it too difficult to find our reflection in another\, so it makes it easier to be intimidated by\, dismiss\, or even cause harm. Music is a great teacher for me in that respect. It’s real and sensual.”
URL:https://www.mediasanctuary.org/event/morley/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Performance
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