Trying to carve out time to write, away from distractions and in a comfortable space? The Center for Humanistic Inquiry invites faculty and staff to participate in an informal writing group every Wednesday from 9 a.m. to noon at the CHI during the fall semester. The Dean of the Faculty is sponsoring all drinks for writers gathered at CHI on Wednesday mornings, available from Frost Café. Just mention that you are part of the faculty/staff writing group.
Release is an open forum for Amherst community members to talk about race, ethnicity, cultural identity, and current events impacting us at Amherst and beyond. Conversations center the experiences and voices of people of color.
This will be Active Minds last meeting for this semester. We will be discussing future events that we would like to do in the spring, including planning for the mental health exhibit in Keefe featuring members of the Amherst community. We would love for anyone to join if you have ideas or would just like to sit and see what comes up. Don't worry if you haven’t been to a meeting before; it’s never too late to get involved!
The Amherst College Queer and Trans People of Color Affinity Space centers students from Amherst College and within the Five Colleges who identify as queer/trans/genderqueer people of color. Presented by the QRC and MRC.
Staff and faculty who identify with the QTPOC community are welcome to attend!
Dinner will be served on: 09/25*, 10/23*, 11/20* (in the QRC)
Just discussion will be hosted on: 10/09, 11/06, 12/04 (in the MRC)
La Causa presents their annual student spoken word/poetry competition. We host this event in preparation for VOICES, our yearly spoken word event. Join us as we choose three winners: 1st place will be the opening act for VOICES 2019 and receive a $30 gift card, 2nd place will receive a $20 gift card, and 3rd place will receive a $10 gift card.
Curated by Tess Takahashi and Josh Guilford
This program presents eight short films created by women filmmakers between 1970 and 1995 which have been drawn from the collections of three experimental film distributors in the U.S. and Canada. It highlights a prevalent – yet under-examined – tension that structures diverse forms of women’s experimental cinema from this period, gathering a range of works that exhibit a complex oscillation between abstraction and embodiment, where non-representational images and sounds continuously merge and clash with representations of gendered, raced, and sexualized bodies. Examining the co-presence of these seemingly divergent tendencies within the work of filmmakers from different regions, generations, and cultural locations, the program considers how the aesthetic conflict between abstraction and representation indexes broader cultural tensions negotiated by women artists working within the traditions of experimental cinema after the 1960s, revealing how such artists sought to reconcile prevailing inquiries into medium specificity with emergent discourses on identity politics. By foregrounding works that reference mediums other than film – such as dance, painting, and collage – the program also points to affinities between women’s experimental cinema and explorations of abstraction conducted in parallel artistic disciplines.
“Swish,” Jean Sousa, 1982, 16mm, color, silent, 3 minutes
“This film deals with the physical properties of the film medium, and pushing those distinctive features to their limit. The subject of the film is motion, and it is an attempt to get inside of it. It was made with a moving subject and a moving camera with an open shutter, the result being that each frame is unique, without the smooth continuity that is expected in film. The subject, a female body at close range, provides an intimacy and eroticism. At the same time it can be seen as a modern version of Futurist simultaneity.” — JS
“Abstraction,” Rosalind Schneider, 1971, 16mm, color, sound, 10 minutes
“Abstraction deals with the interpretation of abstract form as found in the combination of the nude body, landscape, and objects. Imagery is achieved through visual distortion dealing with reflective surfaces, as well as the superimposition of subject matter. The rhythmic structure focuses on a pulsating expansion and contraction that simulates a life force. An attempt has been made to reveal the basic concepts of a painter's approach to the distillation of reality.” — RS
“Roseblood,” Sharon Couzin, 1974, 16mm, color, sound, 8 minutes
“The dance of Carolyn Chave Kaplan; Music from Stockhausen's ‘Hymnen’ and ‘Mantra,’ Enesco's ‘Sonata No. 3 in A Minor.’ Images of a woman in dance, in flora, in picture, in eyes, in architecture, in sunshine, in color, in crystal, in space, in confusion, in danger, in disintegration, in her hand, in birth, in the Valley of Sorrow, in the sea, in repetition, in sculpture and in herself.” -SC “Some really extraordinary subliminal combinations are happening.” – Pat O’Neill
“Yogurt Culture,” Patti Lee Chenis, 1970, 16mm, b&w, sound (digital file), 11 minutes
“Animated pen and ink Cartoon space-like drawings on transparent acetate sheets & silver paint superimposed plastic bubble packing material & plastic helmet approaching 3D without the use of 3D glasses. Part of a series of yogurt culture film.” — PC
“Girl from Moush,” Garine Tarossian, 1993, 16mm, color, sound, 5 minutes
“‘Girl from Moush’ is a poetic montage of the artist's journey through her subconscious Armenia. It is not an Armenia based in a reality, but one which appears, like the mythical city of Shangri La, when one closes one's eyes. Rooted in what Jung may call a ‘communal consciousness,’ her Armenia appears on film as a collage of myth, legend, experience and immigration. In her memoir, Gariné reveals a longing which is visualized but yet never solidly based in our reality. Icons of Armenia appear on the screen for only a second, and then disappear from both the viewer's and the artist's minds. The world of the traveller is filled with uncertainty and fascination. As viewers we are engaged and forced through unchartered landscapes that have been traditionally been restricted to the mind of the artist. Projected into proportions which are larger than life, the viewer is forced to confront and assimilate all that s/he views and perceives.” — Berlinale, Panorama 40th Anniversary Screening, 2019
“Stranger Baby,” Lana Lin, 1995, 16mm, color, sound, 15 minutes
“Micro-narratives moving between fiction, non-fiction, and science fiction elaborate multiple meanings of the term ‘alien.’” - LL “Substituting sly metaphor for political rhetoric on immigration, Lin examines our world of ethical and racial complexities.” — LA Asian Pacific Film Festival catalogue
“Chronicles of a Lying Spirit (by Kelly Gabron),” Cauleen Smith, 1992, 16mm, color, sound, 13 minutes
"CHRONICLES OF A LYING SPIRIT (BY KELLY GABRON) is less a depiction of ‘reality’ than an exploration of the implications of the mediation of Black history by film, television, magazines and newspapers. Using her alter ego, Kelly Gabron, Smith fabricates a personal history of her emergence as an artist from white-male-dominated American history (and American film history). Smith collages images and bits of text from a scrapbook by ‘Kelly Gabron’ that had been completed before the film was begun, and provides female narration by ‘Kelly Gabron’ that, slowly but surely, makes itself felt over the male narration about Kelly Gabron (Chris Brown is the male voice). The film’s barrage of image, text and voice is repeated twice, and is followed by a coda. That most viewers see the second presentation of the imagery differently from the original presentation demonstrates one problem with trusting any media representation.” — Scott MacDonald
“Lie Back and Enjoy It,” JoAnn Elam, 1982, b&w, sound, 8 minutes
“JoAnn Elam’s LIE BACK AND ENJOY IT is an absorbing eight-minute dialectical film about the politics of representation. More specifically, it examines the politics of filmic representation of women under patriarchy .... An undergraduate male student paid it a true compliment in declaring that he can no longer look at a woman in a film without thinking about the consequences of the filmmaker’s use of her as a person and as a spectacle .... The film is endowed with remarkable structural and rhetorical lucidity .... Its image track consists of technologically manipulated images of women, and some printed titles. Its soundtrack consists of a dialogue between a Man (a filmmaker) and a Woman (of whom he’s going to make a film) .... Everyone who watches movies with women in them ought to see it.” — Claudia Gorbman, Jump Cut
TRT ca. 77 minutes
Support for this program is provided by the Amherst College Department of English and Film and Media Studies Program, as well as by the Arts at Amherst Initiative, the Lucian Root Eastman 1895 Fund, and the Corliss Lamont Lectureship for a Peaceful World Fund.
World AIDS Day takes place on 1 December each year. It’s an opportunity for people worldwide to unite in the fight against HIV, to show support for people living with HIV, and to commemorate those who have died from an AIDS-related illness. Founded in 1988, World AIDS Day was the first ever global health day.
Join the RCT, Health Education, the Mead Art Museum, Archives & Special Collections, and the Stonewall Committee in a number of events and installations marking and reflecting on the HIV/AIDS epidemic, its legacies and present-day realities.
Make sure to swing by the World AIDS Day Reception featuring Dr. Jallicia Jolly, Thursday 12/05 in the Keefe Campus Center Atrium from 4:00pm - 5:00pm. Join us in community as we acknowledge and name the continued impact of the HIV/AIDS epidemic. Light refreshments will be served.
WEAR RED THURSDAY!
Please wear Red on Thursday in further build awareness about the HIV/AIDS epidemic and all those who it touches. For more information about why and how red, and specifically the red ribbon, became associated with HIV/AIDS, visit www.worldaidsday.org/the-red-ribbon !