JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

Chuck Kleinhans

Radio/Television/Film Department, Northwestern University
1920 Campus Drive, Evanston IL 60208-2207, USA

chuckkle@northwestern.edu

(847) 491-7315; 491-2255
FAX (847) 467-2389 (attn: kleinhans)


RESEARCH AND TEACHING AREAS

Independent Film and Video. History and aesthetics of experimental and documentary work. Radical, feminist, and Black independent work. Institutional analysis of the independent sector.

Mass Culture: Theory and Case Studies. Marxist, feminist, psychoanalytic, semiotic analysis of mass culture. History of film theory. Ideological analysis of Hollywood. Subculture reception of mass culture. U.S. culture in the Third World.

Sexual Representation. Visual communication using sexual images from high art to kitsch, advertising to pornography. Sexuality in experimental film and video. Image use in stigmatized sexual subcultures.

Media and Development. Aesthetic, ethical and political issues in cross cultural analysis. History and aesthetics of Latin America cinema and video. Media use in revolutionary movements. Special interest in Nicaragua, Cuba, and African diaspora.

CREATIVE WORK

Experimental and documentary work in Super 8mm film, 1/2" and 8mm video, photography, Xerox, graphic design, Macintosh computer graphics and animation. Special interest in radical use of consumer technologies.


PUBLICATIONS


Editing

Co-editor and publisher of JUMP CUT: A Review of Contemporary Media, 1974-present. Experienced in all aspects of editing, production, and business. Major responsibility for editing issues and series on new film theory, gay men and film, women and representation, independent U.S. film, sexual representation, Hollywood reconsidered, African and African diaspora media; forthcoming: sexual representation, mass culture theories.

Contributing Editor, Women and Film, 1974-76.

Editorial Board, Cinema Journal, 2002-


Essays in anthologies

"Virtual Child Porn: The Law and the Semiotics of the Image," More Dirty Looks: Women, Pornography, Power, ed. Pamela Church Gibson and Roma Gibson, second edition, expanded (London: British Film Institute, 2003) forthcoming

With Rick Morris, "Court TV: The Evolution of a Reality Format," Startling! Heartbreaking! Real! Reality TV and the Remaking of Television Culture, Laurie Ouellette and Sue Murray, eds., (New York: NYU Press, forthcoming 2003)

"Becoming Hollywood? Hong Kong Cinema in the New Century," Chinese Connections: Critical Perspectives on Film, Identity and Diaspora, ed. Peter X. Feng, Gina Marchetti, and Tan See-Kam. Philadelphia: Temple University Press, forthcoming.

"Terms of Transition: The Action Film in East-West Perspective," Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia, ed. Jenny Kwok Wah Lau. Philadelphia: Temple University Press, 2003.

"Girls On The Edge Of The Reagan Era," Sugar, Spice and Everything Nice: Contemporary Cinemas of Girlhood, ed. Frances Gateward and Murray Pomerance (Detroit: Wayne State University Press, 2002), 72-90.

"Charles Burnett," Fifty Contemporary Directors, ed. Yvonne Tasker (London: Routledge, 2002)

"Pamela Anderson on the Slippery Slope," The End of Cinema As We Know It: American Film in the 1990s, ed. Jon Lewis. NY: New York University Press, 2001) 287-299.

"Marxism and Film," Film Studies: Critical Approaches, ed. John Hill and Pamela Church-Gibson (Oxford: Oxford University Press, 2000), 104-111.

"Independent Features: Hopes and Dreams," New American Cinema, ed. Jon Lewis, (Durham: Duke Univ. Press, 1998), 307-327.

"Marxism and Film," The Oxford Guide to Film Studies, ed. John Hill and Pamela Church-Gibson (Oxford: Oxford University Press, 1998), 106-113.

"Class In Action," The Hidden Foundation: Cinema and the Question of Class, ed. David James and Rick Berg, (Minneapolis: U of Minnesota Press, 1996) 240-263.

"Theodore Huff: Historian and Filmmaker," Lovers of Cinema: The First American Avantgarde 1919-1945, Jan-Christopher Horak, ed. (Madison: U of Wisconsin Press, 1995) 180-204.

"Realist Melodrama and the African-American Family: Billy Woodberry's Bless Their Little Hearts," Melodrama: Stage, Picture, Screen , ed. Jacky Bratton, Jim Cook, and Christine Gledhill (London: British Film Institute,1994) 157-166.

"Taking Out the Trash: Camp and the Politics of Irony," The Politics and Poetics of Camp, ed. Moe Meyer (NY and London: Routledge, 1994) 182-201.

"Notes on Melodrama and the Family under Capitalism," in Marcia Landy, ed., Imitations of Life: A Reader on Film and Television Melodrama (Detroit: Wayne State U. P., 1991). Reprint of 1979 article.

"Working-Class Film Heroes: Junior Johnson, Evel Knievel and the Film Audience," in Peter Steven, ed., Jump Cut: Hollywood, Politics, and Counter-Cinema (Toronto: Between the Lines Press; NY: Praeger; London, British Film Institute,1985), pp. 64-82. Reprint of "Contemporary Working Class Film Heroes..."1974.

with Peter Steven and Sara Halprin, "Interview with the Filmmakers" (of A WIVES' TALE), in Peter Steven, ed., Jump Cut: Hollywood, Politics, and Counter-Cinema (Toronto: Between the Lines Press; NY: Praeger; London, British Film Institute, 1985), pp. 179-189. Reprint of 1981-82 interview.

with Tom Waugh, "Gays, Straights, Film and the Left: A Discussion," in Peter Steven, ed., Jump Cut: Hollywood, Politics, and Counter-Cinema (Toronto: Between the Lines Press; NY: Praeger; London: British Film Institute, 1985). pp. 281-285. Reprint of 1977 interview.

"Forms, Politics, Makers and Contexts: Basic Issues for a Theory of Radical Political Documentary," in The Documentary Today (conference publication) (St. Paul: Film in the Cities, 1984), pp. 15-23. Shortened version of 1984 article.

"Forms, Politics, Makers, and Contexts: Basic Issues for a Theory of Radical Political Documentary," in Thomas Waugh, ed., Show Us Life: Towards a History and Aesthetics of Radical Documentary Film (Metuchen NJ: Scarecrow Press, 1984), pp. 318-342.

"Contemporary Working Class Film Heroes: EVEL KNIEVEL and THE LAST AMERICAN HERO," in Winfried Fluck, ed. Populüre Kultur. Ein Studienbuch zur Funktionsbestimmung und Interpretation populürer Kultur. Stuttgart: Metzler, 1980, pp. 136-151. (Amerikastudien: Studienband 2.). Reprint of 1974.

"The Actor as Actress: Holly Woodlawn in TRASH and Divine in MULTIPLE MANIACS," essay for festival catalogue, The Actress on Film/Chicago, Film Center, School of the Art Institute of Chicago (Jan. 1979).

"TWO OR THREE THINGS I KNOW ABOUT HER: Godard's Analysis of Women in Capitalist Society," in Patricia Erens, ed., Sexual Stratagems: The World of Women in Film (NY: Horizon, 1979), pp. 72-81. Reprint in revised and abridged form of "TWO OR THREE THINGS...," 1973.

"Dagens arbetarklassfilmhjaltar," in Olle Sjogren, tr., ed. Filmen ledbilder: Marxistiska filmanalyser (Stockholm: Pan, 1976), pp. 176-196. Reprint, slightly shortened, of "Contemporary Working Class Film Heroes...," 1974.

"MARILYN TIMES FIVE," in Karyn Kay and Gerald Peary, eds., Women and the Cinema: A Critical Anthology (NY: Dutton, 1977). Reprint in revised excerpt form of "Seeing Through Cinema Verite...," 1974.


Articles (other than JUMP CUT )

"Virtual Child Porn: The Law and the Semiotics of the Image," Journal of Visual Culture, Sprng, 2004 forthcoming

"Becoming Hollywood? Hong Kong Cinema in the New Century," Film Appreciation (Taiwan, Chinese language translation by Yeh Yueh-yu), November 2000.

"Siempre Selena!" 14th Annual Chicago Latino Film Festival catalogue (Chicago, March 1998), in English and Spanish (tr. Isidro Lucas), 127-129.

with John Hess, "ƒtats Unis," tr. Marie-Odile Dupé, Cinémaction (Paris), special issue on "Les revues de cinéma dans le monde," no. 69 (1993), 148-164., 248-251. [translation of Jump Cut article].

"Touch This: Barbara Hammer's Risky Visions," catalogue essay for a retrospective show, "The Films of Barbara Hammer," Mary Reimer Ross Film Theatre, University of Nebraska, March 1992. [commissioned essay; designed brochure, includes photo essay from framegrabbed stills]

"Documentary Filmmaking on the Margins: Bill Stamets' Super 8mm Ethnography," Cinematograph, 4 (1991), 161-168.

"My Aunt Alice's Home Movies," Journal of Film and Video, 38:3-4 (summer-fall, 1986) pp. 25-35.

with B. Ruby Rich, "Le Cinéma d'avant-garde et ses rapports avec le cinéma militant," tr. Katerina Thomadeki. Cinémaction, no. 10-11, spring-summer 1980, pp. 55-68.

"Notes on Melodrama and the Family under Capitalism," Film Reader no. 3 (1980), pp. 40-47.

with Julia Lesage, "Marxism and Film Criticism: The Current Situation," Minnesota Review, NS 8 (spring 1977), pp.146-149.

"TWO OR THREE THINGS I KNOW ABOUT HER," Women and Film,1: 3-4 (summer 1973), pp. 65-72.

"The Beach Boys: Surfin' on the Tidal Wave of History," Hubris 1:4 (Apr. 1973), pp. 8-11.

with Julia Lesage, "The Fallacy of Prolepsis: A Critique of Yves de Laurot's Cinema Engage," Cineaste, 5:4 (winter 1972-3), pp. 25-34.


Articles in JUMP CUT

"Siempre Selena!" Jump Cut no. 42 (Nov, 1998) pp. 28-31, 121

"Teaching Sexual Images: Some Pragmatics," Jump Cut no. 40 (March, 1996), pp. 119-122

with John Hess, "U.S. Film Periodicals," Jump Cut no. 38 (June 1993), pp 105-122.

"Teaching the ÔOther,' Being White, Male, and Middle Class," Jump Cut no 38 (June 1993), pp 127-130.

"Mainstreams and Margins: Ethnic Notions and Tongues Untied,", Jump Cut no. 36 (June 1991), pp. 108-118, 31.

with Manji Pendakur, "Learning Together: Team Teaching a Course on Third World Film from a Shared Marxist Perspective, Jump Cut no. 33 (March 88), pp. 82-90.

with D. Scott Brewer, "The Montage Sequence in LADY BE GOOD," Jump Cut no. 31 (spring 1986), pp. 24-27.

"Ideological Implications of the Montage Sequence," Jump Cut no. 31 (spring 1986), p 27

with Julia Lesage, "The Politics of Sexual Representation," Jump Cut no. 30 (spring, 1985), pp. 24-26.

with John Hess, "Reds on REDS," Jump Cut no. 28 (spring 1983), pp. 6-10.

"SHAMPOO: Oedipal Symmetries and Heterosexual Knots," Jump Cut no. 26 (winter 1981-82). pp. 12-18.

"GREASER'S PALACE: Subverting the Western," Jump Cut no. 8 (Aug.-Sept. 1975), pp. 11-14.

"Reading and Thinking about the Avant-garde," Jump Cut no. 6 (Mar.-Apr. 1975), pp. 21-25.

"From Tear-jerkers to Thought-provokers: Types of Audience Response," Jump Cut no. 4 (Nov.-Dec. 1974), pp. 21-23.

"Nicholas Roeg: Permutations Without Profundity," Jump Cut no. 3 (Sept.-Oct. 1974), pp. 13-17.

"Contemporary Working Class Film Heroes: EVEL KNIEVEL and THE LAST AMERICAN HERO," Jump Cut no. 2 (July-Aug. 1974), pp. 11-14.



Online Publication  

"Cultural Appropriation and Subcultural Expression: The Dialectics of Cooptation and Resistance." <http://www.rtvf.nwu.edu/studies/people/
kleinhans/cult_and_subcult.html> [nonjuried publication of a work -in-progress, periodically updated, includes Quicktime clips from film/video to illustrate the analysis]

with Julia Lesage, "Listening to the Heartbeat: Interview with Marlon Riggs," http://www.lib.berkeley.edu/MRC/RiggsInterview.html,
[Website for Marlon Riggs] reprinted from: Jump Cut no. 36 (June, 1991), 119-126.


Reviews/Columns

Review, Dick Hebdige, Hiding in the Light. The Democratic Communiqué 8:3 (Winter 89), 18.

Review, Vincent Mosco, The Pay-Per Society: Computers and Communication in the Information Age. The Democratic Communiqué 8:3 (Winter 89), 19.

Review of Bauhaus film show New Art Examiner, Mar. 89

"Film and Video: Something to Say," Dialogue: An Art Journal, 11: 4 (July/Aug 88), 11.

"Film and Video: Looking Askance," Dialogue: An Art Journal, 11:3 (May-June 88),

"Film and Video: Critical Corrections," Dialogue: An Art Journal, 11:2 (Mar-Apr 88),

"Margin notes" (review of new work by Nathan Dorsky), Afterimage 15:7 (Feb 88), 21.

"Film and Video: Video Ascendency," Dialogue: An Art Journal, 11:1 (Jan-Feb 88),

"Film and Video: The Dan Curry Syndrome," Dialogue: An Art Journal, 10:6 (Nov.-Dec. 87), 12.

Review of Chicago group video show, New Art Examiner, May 87.

Review of Jim Benning, LANDSCAPE SUICIDES, New Art Examiner, April 87.

Review of film show by Bill Stamets, New Art Examiner, Jan 87

Book review of Lawrence H. Schwartz, Marxism and Culture: the CPUSA and Aesthetics in the 1930's in Clio 12:2 (1983), pp. 208-209.

"THE OTHER FRANCISCO and ONE WAY OR ANOTHER: Afro-Cuban Filmmaking Today," The Pan-Africanist, no. 9, Jan. 1982, pp. 77-79.

"THE DEVIL'S CLEAVAGE," Film Quarterly, 30:1 (Fall 1976), pp. 62-64.

with Michelle Citron and Julia Lesage, "MILESTONES: White Punks on Revolution," Jump Cut nos. 10/11 (June 1976), pp. 8-9.

"CHRIS AND BERNIE: The Virtues of Modesty," Jump Cut no. 8 (Aug.-Sept. 1975), p. 6.

"Self-Subversion," Jump Cut, no. 7 (May-July 1975), p. 27. (Review of Amos Vogel, Film as a Subversive Art.)

"LIVES OF PERFORMERS," Women and Film, 1:5-6 (summer 1974). pp. 52-54.

"Seeing Through Cinéma Vérité: WANDA and MARILYN TIMES FIVE," Jump Cut no. 1 (May-June 1974). pp. 14-15.

Book review of Leslie Ayre, The Gilbert and Sullivan Companion and James Helyar, ed., Gilbert and Sullivan Papers..., in Victorian Studies, 17:1 (Sept. 1973), pp. 117-118.

Book review of Robert J. Glessing, The Underground Press in America, in Journal of Popular Culture, 4:4 (spring1971), pp. 1012-1013.


Reportage, Introductions, Responses, etc.

with John Hess, Julia Lesage, and others, "The Last Word," editorials in Jump Cut nos. 1-43 (May 1974-summer 2002) on various topics relating to media and politics.

"Second Nature's Revenge" catalogue essay for the digital art show, Second Nature," Ukranian Museum of Modern Art, Chicago. May-June 1999. Part of the Millennium Project.

"Special Section: Contradictions of Sexual Representation: Introduction," Jump Cut no. 41, (May, 1997), p. 20.

"Special Section: Studying Sexual Images: Introduction," Jump Cut no. 40, (March, 1996), pp.103-105.

with Julia Lesage, "Listening to the Heartbeat: Interview with Marlon Riggs," Jump Cut no. 36 (June, 1991), 119-126.

with Julia Lesage, "The Gulf War Superbowl" [photo essay], Jump Cut no. 36 (June 1991), 3-9.

reply to Vincent Mosco, The Democratic Communiqué, 9:1 (Spring 1990), 3.

reply to questionaire on experimental documentary, Experimental Film Coalition Newsletter, July-Sept 88.

"Hollywood Reconsidered: Introduction," Jump Cut, no. 32 (spring 1987).

"Sexual Representation: Introduction," Jump Cut, no. 32 (spring 1987).

"Third World Media: Introduction," Jump Cut, no. 32 (spring 1987).

Reply to questionnaire on avant garde film audience. Spiral no. 9 (Oct. 1986) 9-11.

with Julia Lesage, "Festival Report: New Latin American Cinema in Havana," Jump Cut, no. 31 (spring 1986), pp. 70-71.

with John Hess, "Hollywood Cinema," Jump Cut no. 31 (spring 1986), p. 14. Reprint of "The Last Word," Jump Cut no. 2, 1974.

with John Hess, "Doing Serious Business," interview with Freude Bartlett on independent film distribution, Jump Cut no. 31 (spring 1986), pp. 30-34.

"Sexual Representation: Introduction," Jump Cut no. 30 (spring 1985). p. 23.

"Alternative Cinema in the Eighties: Introduction," Jump Cut no. 28 (spring 1983), pp. 33-34.

with Peter Steven and Barbara Martineau, "Interview with the Filmmakers (of A WIVES' TALE)," Jump Cut no. 26 (winter 1981-82), pp. 26-29.

with John Hess, "Critical Dialogue: Artistic Freedom, Political Tasks," Jump Cut no. 21 (Nov. 1979), p. 28 (exchange of views on Cuba).

with Ellen Seiter and Peter Steven, "Conference Report: Struggling for Unity," Jump Cut no. 21 (Nov. 1979), pp. 35-37.

personal statement in "Conference Times Seven," Jump Cut no. 21 (Nov. 1979), p. 38.

with John Hess, "Basic Readings in Radical Politics and Culture," Jump Cut no. 18 (Aug. 1978), pp. 38-39.

with Robin Lakes, Julia Lesage, and Anna Marie Taylor, "Filming for the People: Kartemquin Interviewed," Jump Cut no. 17 (Apr. 1978), pp. 37-38.

with Julia Lesage and B. Ruby Rich, "The Scalpel Beneath the Suture: Report on a Conference Not Attended," Jump Cut no. 17 (Apr. 1978), pp. 37-38.

"Twelve Frames Per Second: Reply to William Guynn," Jump Cut no.17 (Apr. 1978), p. 36.

"Gays and Film: Introduction," Jump Cut no. 16 (Nov. 1977), pp.13-14.

with Tom Waugh, "A Dialogue: Gays, Straights, Film, and the Left," Jump Cut no. 16 (Nov. 1977), pp. 27-28.

"Lesage Firing Protested," Jump Cut no. 15 (July 1977), p. 34.

"Barbara Kopple Interview," Jump Cut no. 14 (Mar. 1977), pp. 4-6 (on her film HARLAN COUNTY, USA).

"New Theory, New Questions: Introduction," Jump Cut nos. 12/13 (Dec. 1976), pp. 37-38.

"Swinging on Burch's Theory," Jump Cut nos. 10/11 (June 1976), pp. 64-66.

"The Signifier that Failed to Make Milwaukee Famous," Jump Cut nos. 10/11 (June 1976), p. 58.

with Julia Lesage and Barbara Halpern Martineau, "New Day's Way: Julia Reichert and Jim Klein Interviewed," Jump Cut no. 9 (Oct.-Dec. 1975), pp. 21-22.

"A Ventriloquist Psychoanalysis," Jump Cut no. 9 (Oct.-Dec. 1975), pp. 30-32. (Reply to "Comment," by Ben Brewster, Stephen Heath, and Colin MacCabe, Screen 16:2, summer 1975; rptd. Jump Cut no. 9.)

"Julia Reichert and Jim Klein: 'Our First Priority is Reaching People,'" Jump Cut no. 5 (Jan.-Feb. 1975), pp. 11-12. (Interview and analysis of their film METHADONE.)


CURATORIAL

Advisory Board, "Unseen Cinema: Early American Experiments in Film 1893-1941." (World Touring Film and Lecture Series sponsored by Anthology Film Archives (NYC) and Deutches Filmmuseum, Frankfurt. 1999-2004.

Panel proposing avant garde films for the Library of Congress National Film Registry for 1999 (preservation). summer 1999.

*Curator, "Austrian Exiles in Hollywood," a lecture and program of films exerpts in conjunction with an exhibition of art by Austrian exiles, 1919-1945, Block Gallery, Northwestern University, April 1996

*Curator, "Short Collaborative Documentaries from the 1930s," a program of short documentary films in conjunction with an exhibition of US 1930's prints, Block Gallery, Northwestern University, May 1994

*Coordinator, 4 programs of film and video, and conference screenings, "In and Around Fluxus" series for the "Fluxus: A Conceptual Country" exhibition, Block Gallery, Northwestern University, Oct. 1993.

3 programs of early U.S. experimental film, Northwestern University, April-May 1991 in conjunction with the Block Gallery exhibition of 20th Century American watercolors


CREATIVE WORK

Media:1/2" and Hi-8mm video, Super 8mm film, photography, graphic design, Xerox, Macintosh computer. Special interest in radical use of consumer technology.


One-Person Exhibitions (** = invitational, honorarium)

*August 1991. MEN AGAIN: VERSION TWO, University Film and Video Association annual meeting, Oregon State Univ. (critical screening with maker present)

June 1991, MEN AGAIN: VERSION TWO, Marxist Literary Group Institute on Culture and Society, U of Oregon

Jan 1988, POSTCARDS FROM NICARAGUA, Committee on Latin America, Northwestern University

**April 1987, "The Politics of Landscape," show of film, video, photography. Chicago Filmmakers.

Oct. 1986. POSTCARDS FROM NICARAGUA. Association of Iranian Democrats. New World Resource Center, Chicago.

**June 1986. "Portraits from Nicaragua," photo exhibit with gallery installation of POSTCARDS FROM NICARAGUA (video). Hall of Walls gallery, Austin, Texas.

May 1986, "POSTCARDS FROM NICARAGUA," Campus Committee on Latin America, Ohio State.

**Nov. 1985 "POSTCARDS FROM NICARAGUA," video and photography, Art Media, Syracuse University.

May 1985, RISING EXPECTATIONS, film-in-progress, show for South Africa protest vigil, Northwestern

Nov. 1984 "POSTCARDS FROM NICARAGUA" video and photography, Program on Communication and Development Studies, Northwestern.

**Jan. 1982, show of recent films. Chicago Filmmakers.

**Feb. 1981, show of recent films. Chicago Filmmakers.

June 1980, show of recent films. Logan Square Community Art Gallery, Chicago.

**Apr. 1980, show of recent films. Woodland Gardens, Milwaukee.

**Mar. 1980, show of recent films. Film Studies, Indiana University.

June 1979. THE TEN MILLION DOLLAR BASH shown twice, Antioch College.


Group Exhibitions (*= curated)

*Sept 1990. AUGUST NIGHTS in "Around the Coyote," [arts festival] Chicago

*April 1989. POSTCARDS FROM NICARAGUA (exerpt) in "Looking at the Other," Gallery 2, Chicago.

*Jan 1988. TV MAN AT THE END OF THE WORLD'S FAIR in Video Says: New Expressions in Video Art. Northwestern Univ.

Aug 1987. POSTCARDS FROM NICARAGUA in show with Julia Lesage. Videonic Videotheque, Managua.

Sept 1987. POSTCARDS FROM NICARAGUA in show with Julia Lesage. At Juventud Sandinista, sponsored by MINDRA (Agriculture Reform Ministry), Estel’, Nicaragua.

Sept. 1986. POSTCARDS FROM NICARAGUA in show with Julia Lesage. Cinema Action. London.

*Sept. 1986. POSTCARDS FROM NICARAGUA in show with Julia Lesage. New Cinema Midlands Group. Nottingham.

Sept. 1986. POSTCARDS FROM NICARAGUA in show with Julia Lesage. Sheffield Esteli Society. Sheffield.

*June 1986. POSTCARDS FROM NICARAGUA in show with Jeffrey Skoller. Film Center, School of the Art Institute. Chicago.

*Oct. 1985 IT'S NOT MADE BY GREAT MEN (film) in Chicago show, Artist's Space, New York.

*Mar. 1985 AUGUST NIGHTS (film) in Chicago Filmmakers Ten Year Retrospective Series

*May 1980, PEDESTRIAN WAVELENGTH, in Chicago Filmmakers Show, The Funnel, Toronto.

*Feb. 1980, show with JoAnn Elam. Chicago Filmmakers.


Juried Festival

Dec 1987. POSTCARDS FROM NICARAGUA. Semana Internacional de Cine: Certamen Internacional de Video. Tereul (Spain).


Broadcast/Cablecast

August 87. POSTCARDS FROM NICARAGUA. Manhattan Cable. NYC.

October 87. POSTCARDS FROM NICARAGUA. Portland Cable. Oregon.


Videography

MEN AGAIN, VERSION 2, VHS, color, NTSC, 8 min. 1990.

MEN AGAIN. VHS, color, NTSC, 7 min. 1988.

POSTCARDS FROM NICARAGUA/POSTALES DE NICARAGUA LIBRE, 1/2" VHS to 3/4" TBC, color, NTSC/PAL, 50 min. 1985.

THE GIGANTONA SHOOT/FILMANDO LA GIGANTONA, 1/2 " VHS to 3/4" TBC, color, NTSC, 27 min. 1985.

ANGEL, 1/2" VHS to 3/4" TBC, color, NTSC, 11 min. 1985.

IN THE GARDEN, 1/2" VHS to 3/4" TBC, color, NTSC, 12 min. 1985.

TV MAN AT THE END OF THE WORLD'S FAIR, 1/2" VHS to 3/4" TBC, color, NTSC, 12 min. 1985.


Filmography

IT'S NOT MADE BY GREAT MEN, 16mm version, color/sound. 3 min. Nov. 1985.

MEN, MEN, MEN, S8, color/sound, 8 min. Jan. 1982.

STOPPING BY THE TOLLROAD; THE NO WALKING TRIP; FUN, S8, color/silent. 12 min. August 1981.

IF YOU LOOK REALLY HARD..., S8, color/silent. 20 min. June1981.

EVERYBODY'S TRANCE FILM, S8, b&w/color. 10 min. Mar. 1981.

IT'S NOT MADE BY GREAT MEN, S8, color/sound. 3 min. Jan.1981.

FRED BARNEY TAYLOR, A PORTRAIT, S8, color/silent. 3 min. June 1980.

AT HOME IN LOGAN SQUARE (with Dan Curry), S8, color/sound. 20 min. June 1980.

AUGUST NIGHTS, S8, b&w/sound. 15 min. May 1980.

INTERIORS, S8, b&w&color/silent. 12 min. Apr. 1980.

THE JERRY LEWIS LABOR DAY TELETHON (with Liz Schillinger), S8, color/sound. 15 min. Apr. 1980.

BACK PORCH, S8, b&w&color/sound. 18 min. Mar. 1980.

THREE LYRIC FILMS: SAPPHO'S BLUE DREAM, BEACH, MEAT, S8, color/silent. 12 min. Jan. 1980.

THE BLIZZARD OF '79, S8, b&w&color/silent. 12 min. Oct. 1979.

DICTATORSHIP OF THE PROLETARIAT, S8, color/sound. 2-1/2 min. Sept. 1979.

THE TEN MILLION DOLLAR BASH, S8, b&w&color/sound. 24 min. June1979.

SHIRLEY AND BRUCE, S8, b&w&color/sound. 22 min. May 1979.

SOMETIMES I ALMOST THINK I CAN SEE IT, S8, b&w&color/silent. 20 min. May 1979.

PEDESTRIAN WAVELENGTH, S8, b&w&color/silent. 14 min. Mar.1979.

BRIDGE, S8, color/silent. 8 min. July 1978.

NAZI LEADER, S8, b&w&color/silent. 1 min. May 1978.


Video Anthology

CONTINUOUS ENTERTAINMENT, Various formats (D2, Beta SP, VHS) color, NTSC, 90 min. 1992. Anthology of short works, originally in Super 8


Reviews of Work

Discussion of my video camera work for Julia Lesage's HOME LIFE in Lorraine Kenny, "An Interview with Julia Lesage," Afterimage 13:3 (Oct. 1985), 6-9.

Harvey Nosowitz, "A View of Chicago," Millenium Film Journal, no. 12, pp. 36-43.

Discussion of THE TEN MILLION DOLLAR BASH by Judith Mayne in Helen Fehevary, Claudia Lenssen, Mayne, "Interview: Women's Film Production and Reception," New German Critique no. 24-25, Fall-Winter 1981-82.

Article and interview by Adelaide Moorman on my film work and JoAnn Elam's. Viewpoint No. 5, Chicago Filmmakers Newsletter. Reprints "Small Gauge Manifesto." Spring 1980.


Camerawork

Video camera for Julia Lesage, location documentaries in Nicaragua, 1984, 87. HOME LIFE, PARQUE WILFREDO VALENZUELA/WILFRED'S PARK, LA ESCUELA/THE SCHOOL, LAMENTO/LAMENT, MESAJEROS/TROUBADORS.

Additional camera for JoAnn Elam, EVERYDAY PEOPLE, 1980.


Other Work

Portraits of Filmmakers (photography). Spiral no. 9. Oct. 1986.

"Acid Rain Sunset," Subculture Operation Subversion Mailart Exhibition, Center on Contemporary Art, Seattle, May 1986.

Poster for January 1982 show reproduced in The Cinemanews, no. 81-86 (1982) (Super 8 issue), p. 91.

"Christmas Turkey in Lima, Peru," photo essay. First Anniversary Group Show, Logan Square Community Art Gallery, Dec. 1980-Jan. 1981

"A Memo from Chuck Kleinhans on Flag Burning," Shades (Toronto) No. 7, Oct./Nov. 1979, p. 28.

"Chinese Boxing," Second Annual "Wish You Were Here" Mail Art Exhibition, School of the Art Institute of Chicago, spring 1978.


Film/Video Performance

Interviewer/critic of featured video artist Annette Barbier, Image Union program, WTTW (PBS) Chicago, Spring 1994, various broadcasts.

LOOK ME OVER CLOSELY, Christopher Gaal, 1993 (video)

MARX: THE VIDEO, A POLITICS OF REVOLTING BODIES, Laura Kipnis, 1990 (video, title role)

STATE OF THE (VIDEO) ART: A CONVERSATIONAL MOSAIC WITH CHUCK KLEINHANS, Meg Amato, 1989. (video)

LIVES OF THE ARTISTS, Fred Barney Taylor, 1982. (film/video)

ARE YOU LISTENING MR. EISENSTEIN? Doug Eisenstark, 1981. (film)


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