An experimental documentary video project about individuals who have been transformed from so called “ordinary” citizens into activists, Witness To The Future seeks connections that unite people of all cultures, communities, races, and economic classes as they struggle for environmental and social change.
This 2-DVD collection features five early films, a historically important dance and a recent work by media artist and choreographer Yvonne Rainer, and a documentary portrait by Charles Atlas. The collection includes a booklet featuring a detailed biography, bibliography and videography of Yvonne Rainer, and the following contextualizing essays:
After Many a Summer Dies the Swan: Hybrid -- Bill Horrigan
Rainer Variations -- Carrie Lambert
Yvonne Rainer: The Aesthetics of Denial -- Sally Banes
Ten thousand women marched down New York's Fifth Avenue on August 26th, 1970, to mark the fiftieth anniversary of the passage of the 19th amendment, which granted women the right to vote. The march was part of a "Women's Strike for Equality" organized by veteran feminist leader Betty Friedan.
This video, shot in March 1970, contains raw footage from a Women’s Liberation event and discussion that took place in an art space. The tape begins with shots of the crowd mingling while music and speeches are heard in the background. Speakers address the audience, and the tape continues to record the discussion that follows. The main topics are abortion and contraception, and how they relate to power dynamics and the struggle for Women’s Liberation in general.
This video consists of raw footage from a Women’s Liberation Rally in New York City, shot on March 7th 1970, in celebration of International Women's Day. The first two thirds of the piece consist of footage of the crowd and speakers. Many issues are discussed including medical care, childcare, racial solidarity, Puerto Rican liberation, and imperialism. The final third of the tape includes interviews with male and female attendees of the rally.
Workers Leaving the Factory - such was the title of the first cinema film ever shown in public. For 45 seconds, this still-existent sequence depicts workers at the photographic products factory in Lyon, owned by the brothers Louis and Auguste Lumière, hurrying, closely packed, out of the shadows of the factory gates and into the afternoon sun. Only here, in departing, are the workers visible as a social group. But where are they going? To a meeting? To the barricades? Or simply home?
In 1939, Westinghouse made a film about a small-town family visiting the New York World's Fair. Trapped inside that film was a completely different film that shows a mysterious alternate universe, revealed by Bryan Boyce’s own patented brand of narrative deconstruction and evisceration.The outcome is an absurd and chilling drama of a family transfixed by the technological wonders that would soon transform consumer society.
The daily life of the Hunikui village of Sâo Joaquim, on the river Jordâo in the state of Acre. Augustinho, village shaman and patriarch, and his wife and father-in-law, remember the fetters of the rubber plantations and celebrate a new era. Now, with their land demarcated, they can once again teach their traditions to their children and grandchildren.
Direction: Zezinho Yube; Photography: Zezinho Yube, Zé Mateus Itsairu, Vanessa Ayani, Fernando Siã, Josias Mana, Tadeu Siã; Editing: Mari Corrêa, Pedro Portella and Vincent Carelli; Production: Cultura Viva / Vídeo nas Aldeias.
Year of the Spawn is an archival collage inspired by the synonymous song by the “gay church folk” band The Hidden Cameras. Wolf interpreted the song as an anthem for doomed youth. Having recently finished the historical film Teenage, Wolf collected over 100 hours of archival footage, featuring early 20th century adolescents. Much of these historical newsreels feature bizarre and mysterious outtakes. These forgotten scraps became the fabric for this foreboding and melancholic music film.
You Are What You Are Born For features three blind sisters who sing for their survival on the streets of Campina Grande, Brazil. By providing personal testimony about the intimate details of their everyday experiences, these women bring into question the act of seeing and perceiving. The piece opens with a collage of abstract images, a sequence of rotated landscapes. As viewers, we are subject to what Berliner describes as a, "Vertigo provoked by vision," an alternative vision that invites us to consider how perception affects our identity.