Eye Am: Wednesday Nov.1st on MNN.org

From: Diana Arce (email suppressed)
Date: Wed Nov 01 2006 - 04:27:53 PST

Tune Into EYE AM Fall 2006 on Manhattan Neighborhood Network (Time
Warner 34/RCN 83)†
or WORLDWIDE online at MNN.org (http://eyeamvideo.blogspot.com)

Experimental, memoir, and documentary film from women filmmakers around
the world featuring works by Kristi Ryba, Sasha Waters, Vanessa Woods,
Penny Lane, Zulma Aguiar, Natalie Halpern, Branda Miller, Diana Arce,
M. Weimer, Dara Greenwald, Ellen Lake, Cindy Kleine, Victoria Kereszi

Episode Five: Wednesday November 1st 2006 8-9pm TIME WARNER 34/RCN 83
in Manhattan or everywhere at MNN.org
"The Juarez Mothers"
Zulma Aguiar is an Electronic Artist originally from
Calexico,California in search of "the truth" behind the Ciudad Juarez
femicides. She discovers that the only reality she cared about in the
end was the stories of the mothers of the femicide victims. Zulma
interviewed as many mothers as she could with all of her own personal
resources and the support of her university, Rensselaer Polytechnic
Institute and traveled to Juarez several times to meet face to face
with the realities of the feminine ground zero. The mothers explain the
story one more time and makes the point that in the end the reason why
these women are being killed and left to die is simply because they are
poor. In the faces of the mothers is where corruption and negligence is
expressed with pain and sorrow for their own loss.

More than 200,000 Koreans have been adopted internationally. Thousands
of these adoptees return to Korea every year to search for biological
kin. This is one woman's experience of meeting her birth mother.
Conflating the story of familial reunion with the trajectory of an
illicit affair, Rendez-vous presents an intimate glimpse into a
widespread transnational phenomenon.

"What the Water Saw"
The video explores a mystery at the depths of the sea. The film is
structured to mimic the oceanís moods, creating a varied psychological
space for the viewer. Equally important, the visual construction of the
film moves between form and formlessness. This play between form
(appearance) and formlessness (withdrawal) echoes both the oceanís
tides, and the idea of light and dark, or creation and destruction

"Our Hope"
In the villages of western Kenya, AIDS has robbed hundreds of thousands
of children of their parents. Who's caring for them? Tumaini Letu (Our
Hope) follows the lives, struggles, and indomitable spirit of three
women left to care for these orphans. Rasoa Kivairu is raising ten
grandchildren. Anna Khautu is a single mother of five. And Anna Aredo
has taken in four nephews. With limited resources but great resolve,
they must overcome many challenges to ensure these children have a
chance at a better future.

"Go Global (WORLD PREMIERE!!!)"
What happens when consumerism starts close to home and travels over
distant lands only to come back to haunt us?

"Self Study Course"
Self Study Course is an experimental self portrait of the filmmaker's
journey into the subconscious. Through a narrative voice of society,
that manifests itself in the form of a self hypnosis recording, she
explores the contradictions between self ridicule and self

"Passing> 13 things about Nella Larsen"
Most people have never heard of Nella Larsen, a mixed-race Harlem
Renaissance writer, whose career was brilliant but tragically brief.
Recently, an increasing amount of scholarly attention has been given to
Larsen's work yet there exists a frustrating lack of visual
documentation on her life. This video essay/experimental short montages
the few existing archival photographs of the writer with
contemporaneous found footage. It attempts to introduce this
groundbreaking writer to new audiences while reimagining the life of a
mysterious woman whose life mirrored her art in its liminality.

"52 Bis"
Filmed at my grandmotherís house in Paris, France 52 Bis leads the
viewer through a house of memories, empty rooms, photographs that have
been left behind and one light illuminating and obscuring whatís
inside. The continual shift between the positive and negative image
serve to exploit the idea of presence and absence, or alternately the
internal and external. The negative images become the bones of the
house, or the bones of memory within its continually shifting spaces.

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For info on FrameWorks, contact Pip Chodorov at <email suppressed>.