WEDNESDAY

Aug. 26

12:00 PM
Live on Facebook


Conversation

Intimate Histories: Archival Approaches in Time

Panelists: Garrett Bradley, Patrisse Cullors, Saidiya Hartman, and Imani Perry
Moderator: Maori Karmael Holmes

The forcible separation of Black and Indigenous families has been a political technology since the Transatlantic Slave Trade, and has evolved through mass incarceration, environmental racism and economic violence. In Garrett Bradley’s Time we bear witness to the 21-year odyssey of Fox Rich as she works to free her husband who is serving time for a crime they both committed. Through feats of language and subversive acts of communion, Time reminds us of the cyclical nature of memories and the power of the image. Rich’s story is one that begs us to recall that Blackness is Black love and Black relationality is a means of connection and vitality that physical separation can’t permanently break. In this special conversation filmmaker Bradley will join scholars Imani Perry (Breathe: A Letter to My Sons) and Saidiya Hartman (Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval) along with activist, educator and author Patrisse Cullors (When They Call You a Terrorist), all four of whom share an affinity for the archive, as they discuss the film and the work of archiving Black life more broadly.

This panel is free and open to the public. It will stream live with closed captioning on August 26th from this web page as well as BlackStar’s Facebook page.

Panel: Intimate Histories: Archival Approaches in Time

Panelists: Garrett Bradley, Patrisse Cullors, Saidiya Hartman, and Imani PerryModerator: Maori Karmael Holmes

Posted by BlackStar Film Festival on Wednesday, August 26, 2020

Presented by:

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Panelists


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Panelist

Garrett Bradley

Filmmaker

Garrett Bradley (b. NYC, 1986) works across narrative, documentary, and experimental modes of filmmaking to address themes such as race, class, familial relationships, social justice, southern culture, and the history of film in the United States. Bradley has received numerous prizes which include the 2019 Prix de Rome, and the 2017 Sundance Jury Prize for the short film “Alone,” which was released by The New York Times OpDocs and became an Oscar contender for short nonfiction filmmaking, included in Academy Shortlist. Bradley’s work can be seen across a variety of spaces including her Second Unit Directing work on Ava DuVernay’s “When They See Us” and the 2019 Whitney Biennial. In December of 2019, Bradley’s first solo exhibition opened at The Contemporary Arts Museum Houston, curated by Rebecca Matalon. In January of 2020, Bradley became the first Black American woman to receive Best Director at the 2020 Sundance Film festival for her first feature length documentary, “Time.”


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Panelist

Patrisse Cullors

Artist, Political strategist, Co-founder of Black Lives Matter & founder of Reform LA Jails

Artist, organizer, educator, and popular public speaker, Patrisse Cullors is a Los Angeles native and Co-Founder of the Black Lives Matter Global Network and Founder of grassroots Los Angeles based organization Dignity and Power Now. Cullors’ work for Black Lives Matter recently received recognition in TIME Magazine’s 2020 100 Women of the Year project. Cullors is a New York Times bestselling author of When They Call You a Terrorist: A Black Lives Matter Memoir (2018). She is also the Faculty Director at Arizona’s Prescott College of a new Social and Environmental Arts Practice MFA program that she has developed. In 2019, Patrisse joined Freeform’s Good Trouble Season two as a staff writer and actor. She has continued writing for its third season. For the last 20 years, Cullors has been on the frontlines of criminal justice reform and led Reform LA Jails’ “Yes on R” campaign, a ballot initiative that passed by a 73% landslide victory in March 2020.


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Panelist

Saidiya V. Hartman

Scholar

Saidiya Hartman is a Professor at Columbia University and scholar of African American literature and cultural history whose works explore the afterlife of slavery in modern American society and bear witness to lives, traumas, and fleeting moments of beauty that historical archives have omitted or obscured.

Her first book, Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America (1997), traces continuities between pre- and post-emancipation eras in the United States by demonstrating how even advocacy-oriented abolitionist rhetoric reproduced the violence and domination of the state of enslavement. Her second book, Lose Your Mother: A Journey Along the Atlantic Slave Route (2007), combines elements of historiography and memoir in a meditation on her travels to Ghana in search of a deeper understanding of the experience of enslavement.

Hartman’s most recent book, Wayward Lives, Beautiful Experiments (2019), is similarly inventive in its mode of presentation and immerses readers in the interior lives of young black women who fled the South and moved to Northern cities in the early twentieth century. While drawing from sociological surveys, tenement photographs, reformatory case files, and other sources, she critiques the pathologizing portrayals these official documents present and recovers stories of resistance enacted by famous women (such as Ida B. Wells) and numerous anonymous others who looked outside the bounds of the law to find kinship, intimacy, and freedom.


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Moderator

Maori Karmael Holmes

Curator, Filmmaker, Writer

Maori founded BlackStar in 2012 and serves as its Artistic Director and CEO. Recognized as one of Black Public Media’s 40 Gamechangers for 40 Years, she was on Essence Magazine’s 2019 Woke 100 List, and is a 2019 Soros Equality Fellow. She has organized programs in film at Anthology Film Archives, MOCA, The Underground Museum, and the Whitney Museum of American Art. As a director, her works have screened internationally, including her feature documentary Scene Not Heard: Women in Philadelphia Hip-Hop (2006). She has also directed and produced works for Colorlines.com, Visit Philadelphia, and singer-songwriter India.Arie. Her writing has recently appeared in The Believer, Pleasure Activism: The Politics of Feeling Good, and How We Fight White Supremacy: A Field Guide to Black Resistance. Maori also serves as Mediamaker-in-Residence at the Annenberg School for Communication at the University of Pennsylvania, Curator-at-Large at the Annenberg Center for the Performing Arts, and a Creative Executive with Blackbird.


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Panelist

Imani Perry

Scholar

Imani Perry is the Hughes-Rogers Professor of African American Studies at Princeton University and a faculty associate with the Programs in Law and Public Affairs, Gender and Sexuality Studies and Jazz Studies. She is the author of 6 books, including More Beautiful and More Terrible: The Embrace and Transcendence of Racial Inequality in the United States (NYU Press, 2011), Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry (2018), Vexy Thing: On Gender and Liberation (Duke University Press 2018), and May We Forever Stand: A History of the Black National Anthem (2019). Her most recent book is: Breathe: A Letter to My Sons (Beacon Press, 2019). Perry is a scholar of law, literary and cultural studies, and an author of creative nonfiction. She earned her Ph.D. in American Studies from Harvard University, a J.D. from Harvard Law School, an LLM from Georgetown University Law Center and a BA from Yale College in Literature and American Studies. Her writing and scholarship primarily focuses on the history of Black thought, art, and imagination crafted in response to, and resistance against, the social, political and legal realities of domination in the West. She seeks to understand the processes of retrenchment after moments of social progress, and how freedom dreams are nevertheless sustained. Perry’s forthcoming book under contract with ECCO Press is a narrative journey through the South, arguing that it is the nation’s heartland for better and worse. Future planned projects include an examination of African American theories of law and justice, and a meditation on the color blue in Black life.