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October 7, 2018 – October 28, 2018

What is feminist experimental film? How is it feminist, and what makes it experimental? Through this four-program series, we explore these questions, inspired by the new text Film Feminisms: A Global Introduction co-written by PSU film professor Dr. Kristin Lené Hole and Dr. Dijana Jelača. Taking place each Sunday evening in October, Not Sorry presents a survey of short works spanning from the 1970s to today with an explicit intent on questioning the largely white male canon of experimental film while positioning different modes of experimentation within both international and contemporary terms. The program will include more well-known works like Peggy Ahwesh’s She Puppet (2001) that repurposes footage of video game character Lara Croft; under-recognized landmarks like Black feminist work from LA Rebellion filmmaker Barbara McCullough, Water Ritual #1: An Urban Rite of Purification (1979); and contemporary pieces like the hand-manipulated 16mm confessional films Solitary Acts #5 (2015) and Her Silent Seaming (2014) from Turkish-American filmmaker Nazli Dinçel, who will be in attendance October 14th, and the digitally-sourced found footage piece Boyfriend (2014) from Toronto-based artist Jennifer Chan, who will be in attendance October 28th. Portland-based artists Ariella Tai, Vanessa Renwick, Julie Perini, and Hannah Piper Burns will also be represented in the series, bringing a local perspective to the film selections and discussions.

Co-sponsored by

Not Sorry #1: Heritage

Directed by Various

The way in which national power structures have formed perceptions of the feminine and have historically included (or rather, excluded)

Not Sorry #2: Vessels

Directed by Various

How does the body tell a story, and whose story is it? Is it meant to please itself or give

Not Sorry #3: Home

Directed by Various

Stories of political and social upheaval are often accompanied with typical media images of suffering or violence. But the resulting

Not Sorry #4: Consumer

Directed by Various

Critiquing popular culture by re-appropriating found footage source materials or by restaging stereotypes are common strategies in the experimental film

The Northwest Film Center recognizes and honors the Indigenous peoples of this region on whose ancestral lands the museum now stands. These include the Willamette Tumwater, Clackamas, Kathlemet, Molalla, Multnomah and Watlala Chinook Peoples and the Tualatin Kalapuya who today are part of the Confederated Tribes of Grand Ronde, and many other Native communities who made their homes along the Columbia River. We also want to recognize that Portland today is a community of many diverse Native peoples who continue to live and work here. We respectfully acknowledge and honor all Indigenous communities—past, present, future—and are grateful for their ongoing and vibrant presence.