How does the body tell a story, and whose story is it? Is it meant to please itself or give pleasure to others? Who or what controls the body, and what must it endure? With Turkish-American filmmaker Nazli Dinçel in attendance, this program meditates on the general theme of the body as a vessel. Along with Dinçel’s two 16mm films, Her Silent Seaming (2014) and Solitary Acts #5 (2015)—which use the analog film format as a metaphor for the body itself and examine conflicted intimate experiences and emerging sexual desire—are Naomi Uman’s found footage porno Removed (1995) for which the filmmaker painstakingly removed the female figure in each frame with nail polish; German artist Vika Kirchenbauer’s Like Rats Leaving a Sinking Ship (2012), which narrates the experiences of the artist’s own transgender identity through an essayistic approach; and local artist Hannah Piper Burn’s celebration-turned-elegy for professional swimmer and actress Esther Williams in Mermaid Blues (2013).
Post-screening discussion to follow with filmmakers Nazli Dinçel and Hannah Piper Burns in attendance. The day before, on Saturday, October 13th, join Dinçel for the workshop Analog Film and the Body. The $35 tuition will also get you into the screening the next day.
She Puppet, US, 2001 dir. Peggy Ahwesh (17 mins., digital)
Her Silent Seaming, Turkey/US, 2014 dir. Nazli Dinçel (10 mins., 16mm)
Why I Never Became a Dancer, UK, 1995 dir. Tracey Emin (6.5 mins., digital)
Solitary Acts #5, Turkey/US, 2015 dir. Nazli Dinçel (5.5 mins., 16mm)
Like Rats Leaving a Sinking Ship, Germany, 2012 dir. Vika Kirchenbauer (25 mins., digital)
Removed, US, 1999 dir. Naomi Uman (6 mins., 16mm)
Mermaid Blues, US, 2013 dir. Hannah Piper Burns (18 mins., digital)