Film screenings by Paper Tiger TV and Deep Dish TV highlighting the work of political filmmakers and creating space for critical dialogue.
About Paper Tiger ::: Paper Tiger TV is an open, non-profit, volunteer video collective that has been creating fun, funky, truly alternative media since 1981! PTTV strives to create awareness of how media can be used to affect social change and empower communities to create their own grassroots media.
Reels for Radicals began in December 2015. Since then, we have shown the following films:
All Day All Week: An Occupy Wall Street Story + discussion with Director Marisa Holmes
In 2011, there were occupations of squares happening all across the globe. People were rising up in response to the global financial crisis and for real democracy. It was a moment of upheaval when anything seemed possible.
In this context, on September 17th, 2011, a two-month encampment of Zuccotti Park, renamed Liberty Plaza, began in the financial district of NYC. Occupy Wall Street (OWS) was an autonomous zone of activity with general assemblies engaging in directly democratic processes and working groups self-organizing to meet basic needs. It was a liberated space.
The non-fiction feature film, All Day All Week: An Occupy Wall Street Story, tells the story of OWS from the perspective of those who lived it. Filmed by and in conversation with participants, the film offers a glimpse inside the daily life of occupation as well as reflections on the experience.
We are the Palestinian People: REVOLUTION UNTIL VICTORY (1973) on 16mm (!!!) + panel discussion with Lamis Deek (NYC-based human rights attorney born in Palestine), Matt Meyer (War Resister’s International), Libor Von Schonau (co-founder of the Art and Struggle collective and former vice-chair of the Middle East Crisis Committee), and Felice Gelman (Where Should the Birds Fly producer and Palestinian solidarity activist).
“Made by a breakaway faction of the US Newsreel collective Pacific Newsreel, We Are the Palestinian People (Revolution Until Victory, 1973) edits exclusively archival footage into a detailed, historical reconstruction of the conflict. Great attention is paid to the political genesis of Zionism, the role of colonial Britain in assigning Palestine to zionists and the strategic role Israel has played ever since in the control and monopoly of the world’s most sought-after commodity, oil. While other titles stressed the internationalist dimension of the Palestinian revolution by linking it to other anti-colonial struggles, the same concept is rendered here specularly – for if anti-imperialism is a transglobal phenomenon, so is repression.”
– Sight and Sound Magazine
Good Fortune + discussion with Producer and Editor, Jeremy Levine
GOOD FORTUNE, directed by Landon Van Soest, explores how massive international efforts to alleviate poverty in Africa may be undermining the very communities they aim to benefit. Through intimate portraits of two Kenyans battling to save their homes from large-scale development organizations, GOOD FORTUNE examines the real-world impact of international aid. In the rural countryside, Jackson’s farm is being flooded by an American investor, who hopes to alleviate poverty by creating a multi-million dollar rice farm. Across the country in Nairobi, Silva’s home and business in Africa’s largest shantytown are being demolished as part of a United Nations slum-upgrading project.
Here Come the Videofreex + discussion with Director Jon Nealon, Skip Blumberg (founding member of the Videofreex), and DeeDee Halleck (founder of Paper Tiger TV, co-founder of Deep Dish TV and Professor Emerita of UCSD)
HERE COME THE VIDEOFREEX, directed by Jon Nealon and Jenny Raskin, tells the story of the most radical video collective of the 1960’s and 70’s. It is the quirky tale of ten people’s optimism and creativity, and their vision of what television could have become at a time when the three big networks ruled the TV airwaves.
From the Other Side + discussion with Kevin Duarte (member of the New York State Youth Leadership Council)
FROM THE OTHER SIDE, directed by Chantal Akerman, looks at the situation of Mexican immigrants at the border between Agua Prieta, a Mexican border town in the state of Sonora, and Douglas, Arizona, the city on the other side. The first half of the film is set in Mexico. Between static and tracking shots of desert landscapes and the border wall, Akerman interviews people who plan to or have attempted to cross the desert into the US, including a young boy in an orphanage. She quietly interviews an older couple whose son died in the desert when his group lost their way.
Report Back From Standing Rock + discussion with Iraq Veterans Against the War (IVAW) and other veterans who recently returned from Standing Rock, Paper Tiger TV, and The Native and the Refugee
A report back and analysis on the current occupation of Standing Rock with members of the Iraq Veterans Against the War (IVAW), The Native and the Refugee, Paper Tiger Television, and photographer/multimedia artist, Vanessa Teran. Short video presentations by Matt Peterson of The Native and the Refugee and Julie Ludwig of Paper Tiger Television followed by a discussion about the indigenous-led resistance of the Dakota Access Pipeline and ways to support the water protectors.
Discussion on the complex political situation in northern Syria, the practice of democratic confederalism in the region, and direct involvement of international volunteers in this historic movement. They will also share details on everyday life within Rojava, which rarely makes it to the news we receive in the United States.
This follows reports by a number of members of Woodbine on trips taken to Kurdish regions of Turkey, Iraq, and Syria over the last 2 years, to learn about the practice of building democratic autonomy in war-torn nation-states. Many around the world have flocked to the region to learn about this movement, with the idea that what’s taking place offers an example of how to build a new shared life amid ruins.
Do Not Resist + discussion with Black Lives Matter Activists, Elsa Waithe and Keegan Stephan
DO NOT RESIST, directed by Craig Atkinson, is an urgent and powerful exploration into the militarization of American police forces. Starting on the streets of Ferguson, Missouri, as the community grapples with the death of Michael Brown, the film offers a stunning look at the current state of policing in America and a glimpse into what it means for the country’s future. The film puts viewers in the center of the action, including a ride-along with a South Carolina SWAT team and inside a police training seminar, before exploring where new technologies including predictive policing algorithms could lead the field next.
Ordinary Fascism + discussion with writers and political theorists, Matt Peterson and A.M. Gittlitz
ORDINARY FASCISM, directed by Mikhail Romm, pulls out all the stops in its selection of documentary material to draw the viewer not only into absolute horror about fascism and nazism in the 1920s-1940s Europe, but also to a firmest of convictions that nothing of the sort should be allowed to happen again anywhere in the world. It is “a most powerful reflection on fascism and the holocaust. The film follows on the one hand the tradition of earlier films about fascism and the holocaust, but differs in the commentary provided by the voice of the author: The analysis offered here focuses on Romm’s strikingly everyday voice, which speaks with the intonation of dialogic situations and draws on a range of discursive devices, oscillating between traditional commentary, subjective intervention and ironic usurpation of film figures. The interaction of vocal performance, audio commentary and visual montage is then compared to the reuse, with different intent, of the same documentary footage in Hartmut Bitomsky’s Deutschlandbilder (FRG, 1983) and Reichsautobahn (FRG, 1986).” – http://
Hiroshima Bound + discussion with Director Martin Lucas
HIROSHIMA BOUND, directed by Martin Lucas, is a haunting hour-long essay-style interrogation of the traumatic mix of memory and amnesia that constitutes America’s understanding of the bombings of Hiroshima and Nagasaki, built from a mix of re-examined archival material, survivor testimony, personal meditation and visits to sites including The Lawrence Radiation Laboratory at Berkeley, White Sands Missile Proving Grounds, and the International Center of Photography in New York.
The image of the mushroom cloud has always been a black hole, a destroyer of meanings. 70 years later, how can we see Hiroshima?
An evening with Nick Macdonald shorts including: Break Out!, No More Leadershit, The Liberal War, Still Attica Remains, and Acts of Revolution + discussion on the role of anarchist cinema.
An independent filmmaker in the 1970s, working on shoestring budgets, Nick Macdonald is known for The Liberal War (1974), which was acquired by the Museum of Modern Art (NYC) for its Study Collection in 1976. Another film, Break Out!, premiered in 1971 at the original Film Forum on West 88th Street in New York City. Rather than using traditional documentary footage, Macdonald’s political films are more personal, shot largely in his apartment to create metaphors, through collage and guerrilla skits, for the historical narrative of his voice-over narration.
What Farocki Taught & SCUM Manifesto + discussion with Director Jill Godmilow
POST-REALIST FILM NIGHT WITH JILL GODMILOW, filmmaker and Emeritus Professor in the Dept. of Film, Television, and Theatre at the University of Notre Dame. Jill Godmilow has earned a substantial reputation as a film director and educator whose work varies in form from documentary, to speculative historical fictions, to replica. Her provocative writings on documentary theory and practice are used in university courses all over the country. Her Kill the Documentary As We Know It (Journal of Film and Video, 2002), is a punishing manifesto against traditional pedagogical documentaries and cinema verité practice. In it, she provides a list of “‘Do Nots” aimed at disabling old documentary habits and setting non-fiction on a new course, which today she calls “post-realist”. Her work is groundbreaking and critically important for documentary media makers and theorists.
Post-Realist Film Night with Jill Godmilow
Reels for Radicals Screening: Post-Realist Film Night with Jill Godmilow
June 23, 2017
A.J. Muste Institute (168 Canal St., 6th Fl, NY, NY 10013)
Discussion with Jill Godmilow, filmmaker and Emeritus Professor in the Dept. of Film, Television, and Theatre at the University of Notre Dame on the following films:
PROG 1: Jill Godmilow, WHAT FAROCKI TAUGHT (U.S., 1998, 30 min)
PROG 2: Jill Godmilow, Joanna Krakowska, and Magda Mosiewicz, SCUM MANIFESTO (U.S./Poland, 2016, 27 min) -- NEWLY RELEASED AND RARELY SHOWN!
Jill Godmilow has earned a substantial reputation as a film director and educator whose work varies in form from documentary, to speculative historical fictions, to replica. Her provocative writings on documentary theory and practice are used in university courses all over the country. Her Kill the Documentary As We Know It (Journal of Film and Video, 2002), is a punishing manifesto against traditional pedagogical documentaries and cinema verité practice. In it, she provides a list of "'Do Nots" aimed at disabling old documentary habits and setting non-fiction on a new course, which today she calls "post-realist". Her work is groundbreaking and critically important for documentary media makers and theorists.
PROG 1: Jill Godmilow, WHAT FAROCKI TAUGHT (U.S., 1998, 30 min)
A shot-for-shot remake of Harun Farocki’s 1969 Inextinguishable Fire, a film about the production of a "better Napalm" for the war in Vietnam. In order to re-circulate Farocki's film, Godmilow translated the German speech into English. She shot on Kodachrome – to get a dated look and in order to not infringe on Farocki's B/W film. Every sequence is carefully reproduced—from the self-inflicted cigarette burn at the beginning, to Dow Chemical scientists reacting to evening news coverage of the Vietnam War devastation: " Nothing but blood, hunger, misery, violence." "Do we have to look at this?" A female chemist puts her head on her husband’s shoulder— "Darling, I'm so terribly cold." The precise replication is occasionally underscored by Godmilow superimposing Farocki’s original shots over her reproduction. In a short epilogue, Godmilow is interviewed about her project on the set, expanding her thoughts in a voiceover recorded later: “We don’t have a name for this type of film… it replaces the documentary’s pornography of the real... we could call it the 30th Anniversary Special Edition”
PROG 2: Jill Godmilow, with Joanna Krakowska, and Magda Mosiewicz SCUM MANIFESTO (U.S./Poland, 2017, 27 min)
Godmilow's SCUM MANIFESTO is a Polish/English replica of a 1976 film by the same name, where renowned French actress and filmmaker Delphine Seyrig (Last Year in Marienbad, Jeanne Dielman) slowly translates about 12 juicy sometimes fierce sometimes hilarious paragraphs of Valerie Solanas' infamous 1969 radical feminist text into French, phrase by phrase, while activist and Swiss director Carole Roussopoulos sits across the table and types up the text. S.C.U.M stands for the Society for Cutting Up Men. Solanas wrote, "If SCUM ever marches, it will be over the President's stupid, sickening face; if SCUM ever strikes, it will be in the dark with a six-inch blade...SCUM is against the entire system, the very idea of law and government. SCUM is out to destroy the system, not attain certain rights within it." Recirculating the 1976 French film, this new SCUM Manifesto is a form of resistance and a call to action. It encourages others in other countries, in other languages, to replicate this new version and keep its intelligence alive and moving around.
- Post-Realist Film Night with Jill Godmilow
- Veterans and Media Activists Report Back From Standing Rock - Deep Dish TV
- David Suker, a veteran, on his experience at Standing Rock - Report Back From Standing Rock (Dec. 17th in NYC)
- Karen Chamberlain on Standing Rock being an indigenous-led movement - Report Back From Standing Rock (Dec. 17th in NYC)
- Katherine Nguyen (IVAW) on her experience at Standing Rock - Report Back From Standing Rock (Dec. 17th in NYC)
- Vanessa Terán on colonialism, power structure, & identity - Report Back From Standing Rock (Dec. 17th in NYC)
- Matt Peterson on rural living, kinships, and survival - Report Back From Standing Rock (Dec. 17th in NYC)
- Will Munger on "cowboys and Indians" coming together against capital - Report Back From Standing Rock (Dec. 17th in NYC)
- Matt Peterson on jurisdiction in Standing Rock and Obama - Report Back From Standing Rock (Dec. 17th in NYC)
- Matt Howard (IVAW) on his experience at Standing Rock - Report Back From Standing Rock (Dec. 17th in NYC)
- Matt Howard (IVAW) on response to veterans - Report Back From Standing Rock (Dec. 17th in NYC)
- Julie Ludwig (Paper Tiger TV) on her experience at Standing Rock - Report Back From Standing Rock (Dec. 17th in NYC)
- Julie Ludwig (Paper Tiger TV) on race, ethnicity and whiteness - Report Back From Standing Rock (Dec. 17th in NYC)
- Aneeta Mitha on Trump, what's next & hopes for the future - Report Back From Standing Rock (Dec. 17th in NYC)
- Aneeta Mitha on decolonization - Report Back From Standing Rock (Dec. 17th in NYC)
- Matt Peterson on urban movements vs rural - Report Back From Standing Rock (Dec. 17th in NYC)
- Will Munger on direct action - Report Back From Standing Rock (Dec. 17th in NYC)
- Standing Rock Report Back with Iraq Veterans Against the War (IVAW), Paper Tiger TV & The Native and the Refugee
- The Videofreex and the Community in Lanesville, NY -- Working on Lanesville TV (America's First Pirate TV Station)
- DeeDee Halleck and Skip Blumberg on Media Activist Groups, the Spirit of Collectivity and Early Cable Television
- Where are the Videofreex now?
- Failing the Palestinian People: Lamis Deek at Reels for Radicals Palestinian Film Screening
- Arts, Corruption, and Cybersecurity: Libor Von Schönau at the Reels for Radicals Palestine Film Screening
- The Hypocrisy of Zionism: Michael Tarif Warren at Reels for Radicals Palestine Film Screening
- Israeli Criticism Abroad: Joel Kovel at Reels For Radicals Palestine Film Screening