Admission: $5 – $15 sliding scale, FREE for SoEx and Intersection members
Location: Intersection for the Arts

We received 68 submissions and 15 filmmakers were selected for the Film/Video Screening.

Marc Adelman
Stanislav Basovich
Sarolta Jane Cump
Drone Dungeon
Emily Alden Foster
Michael Hall
Alfred Hernandez
Michael Hession
Chris Kennedy
Martin Machado
Mission Archives
Rob Racine
Daniela Steinsapir
Anjali Sundaram/Charles Kremenak
Liz Walsh

Information about the selected films (listed in order of appearance):

Stanislav Basovich - imperfections, 2006
imperfections is an examination of the extent to which one can reclaim images of self.

Sarolta J. Cump - Riding with Dalya, 2007
After the 34 day long 'July War' between Israel and Lebanon, hundreds of thousands of U.S. made, lethal cluster bombs were left unexploded throughout southern Lebanon's rural towns and fertile fields. The U.N. estimate is that Israel dropped between 2 to 3 million cluster bomblets on Lebanon, 90% of which occurred in the last 72 hours of the conflict. In January 2007, the filmmaker joined 25 year old Dalya Farran of the UN Mine Action Coordination Center in Southern Lebanon on a 'ride-along' to a de-mining site in an orange orchard near her hometown of Tyr. Told with a cinema verite lens, Riding with Dalya shows a snapshot of the de-mining crew as they perform a ritual-like dance. Cump recalls how she listened to Dalya's debriefing, the grim statistics of deaths and injuries that will continue to grow, and found herself wondering how Dalya kept grounded and sane, day after day... on the ride back she found her answer.

Marc Adelman - Samstag Abend im Eagle (Saturday Night at the Eagle), 2007
A anecdote of two men meeting in a gay leather bar, Samstag Abend im Eagle (Saturday Night at the Eagle) uncovers seemingly disparate elements; the Jewish ritual of laying tefillin (phylacteries), leather fetishism, German, The Jazz Singer and HIV/AIDS as a means for rethinking counter-publics and assimilation. At the end of the night, what is there to say?

Michael Hall - Five Constant Factors, 2007
Sun Tsu's Art of War, an immensely influential ancient Chinese book on military strategy, states that the five constant factors are: 1) The Moral Law, 2) Heaven, 3) Earth, 4) The Commander and 5) Method and Discipline. Five Constant Factors is a painterly exploration of images taken from footage of the Normandy invasion in 1944.

Anjali Sundaram/C. Kremenak - They Last, 2007
In 1956, at the age of 60, Tressa Prisbrey began a 20+ year work of collecting discarded objects at the dump and building them into a series of paths, shrines and bottle houses on her property in Simi Valley. They Last is part tribute to the work of Tressa Prisbrey and part meditation on the desire to create, preserve and re-use, despite the impermanence of things.

Liz Walsh - Salt, 2007
In Salt, the landscape to the past is the landscape of the ocean, of a day at the pool, of static movement. A filmmaker investigates the past by re-photographing details of old family photos.

Alfred Hernandez - Trees in Concrete, 2007
Trees in Concrete is a video that seeks to express the interconnectedness of things in nature and in the urban environment. In a way, trees are the silent witnesses to our lives and to what we are doing to the world.

Michael Hession - Ten Attempts, 2006
A filmmaker gives up control and throws the camera up into the sky. What goes up will also come down; Ten Attempts shows us how to see beyond our own eyes.

Drone Dungeon - SquareDance, 2007; Remains 1 & 2, 2007
With video we can capture moments on tape, but like memory, video also changes with time and shifts the way we see things. In SquareDance and Remains 1 & 2, the degradation and pixilation of the video image reveals new ways of looking at past events, nature and the very means with which we capture these things. Remains 1 & 2 was originally conceived as a two monitor installation stacked upon each other, but can be viewed as single channel video.

Daniela Steinsapir - Cable a Tierra (Recycling Junk series I), 2007
Cable A Tierra shows a seemingly antiquated mass-produced object, the oscilloscope, in a new light. The video name, Cable a Tierra, comes from the ground wires found on the inside of electric circuits. This is part of the filmmaker's Recycling Junk series, a body of work that reveals the beauty, harmony and symmetry of discarded electronics.

Martin Machado - 1st Row to Alcatraz, 2007
The filmmaker built a water tight wooden housing that could hold a 16mm movie camera, battery pack and an apparatus that would release the shutter once a second. Originally meant to document the filmmaker's trip to Alcatraz Island from a seaside perspective, forced on board from the rough tide, the camera documents the filmmaker's interactions with the sea and his brief, but arduous journey back to the harbor, and to safety.

Rob Racine - PROCESS, 2007
Movement, color relationships and energy. PROCESS takes you through an artistic journey where the painterly changing image and use of sound becomes the art.

Chris Kennedy - the acrobat, 2007
Inspired by Toronto poet Ryan Kamstra, the acrobat is a consideration of the relationship of gravity and politics — the beauty and necessity of rising up, but also, perhaps, the significance of allowing oneself to fall.

Mission Media Archives - Sampler of Mission Archives: Mission Area Youth Council Picket Sears, 1970s
Mission Youth fight for work. Do you believe? Do you support? Mission Archives is a collective of filmmakers archiving audio and films shot during the 70s and 80s of the Mission, a period when the neighborhood was mostly working class and Latino. Mission Archives believes that by showing these films with contemporary audiences we all collectively preserve a past Mission

Emily Alden Foster - Snowfakes, 2007
Snowfakes is filmmaker Emily Alden Foster's first foray into stop-motion animation, made with a consumer-grade digital camera and a borrowed iBook, over the course of a winter spent in rural Missouri. The film is comprised of 2,000 individually captured stills compiled over four months. Images and objects representing Foster's fond memories of her winter home — rocks, sticks, snow, fabric, unspooled VHS tape, candles, old maps and photographs — are interpolated with carefully choreographed paper cutouts, progressive drawings and Spirographs. Tape-folker Flowers provides the soundtrack.

This year, the 7th Annual Film/Video Screening takes place at Intersection for the Arts' ground floor theater. One screening only. Reserve tickets in advance to see who are sure to be Northern California's up and coming media makers.

Film/Video Juror

Kirthi Nath is an award-winning filmmaker, writer, educator and curator. Her films have shown in several festivals and events including a solo show at The Yerba Buena Center for the Arts, Moondance International Women's Festival, San Francisco Asian American Film Festival, Berkeley Women of Color festival and Ladyfest (Olympia, Scotland, Bay Area and Texas). As an artist, her tactile and dreamlike works explore female subjectivity, memory, desire, and racial and sexual identities. As an educator, Kirthi teaches video and distribution at the Bay Area Video Coalition where she strives to empower young people to become both producer and audience. As an active member in the art community, Kirthi has appeared on several panels and been a guest juror for film festivals, including the San Francisco International Film Festival and MadCat International Women's Film Festival. Kirthi completed her MFA in the Visual Arts graduate program at the University of California, San Diego, and currently lives in San Francisco.