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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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              <text>&lt;div style="height:0;padding-bottom:75%;"&gt;&lt;a href="https://youtu.be/MrAzU79PBVM" target="_blank" title="United in Anger" rel="noreferrer noopener"&gt;https://www.youtube.com/watch?v=rcP4a8oN2tA&lt;/a&gt;&lt;/div&gt;</text>
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                <text>&lt;a href="http://www.unitedinanger.com/" title="United in Anger Website" target="_blank" rel="noreferrer noopener"&gt;United in Anger-History of Act Up&lt;/a&gt;</text>
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                <text>This VHS videotape has gone missing from the collection.</text>
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                <text>Copyright Jim Hubbard, Amazon Video</text>
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                <text>Act Up: Available on Amazon</text>
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                <text>&lt;a href="https://nyti.ms/2oq8Rzs" title="NY Times Review of United in Anger" target="_blank" rel="noreferrer noopener"&gt;Review of United in Anger: a History of Act Up by the NY Times&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.unitedinanger.com/"&gt;United in Anger: A History of ACT UP&lt;/a&gt;</text>
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                <text>This tape was most likely given to me by its makers Jim Hubbard and Sarah Schulman, most likely when they came to Pitzer College, where I was teaching at the time, to screen it. I have collaborated with them often, and they have collaborated together even more often than that, most notably as the organizers of the &lt;a href="https://www.actuporalhistory.org/"&gt;ACT UP Oral History Project&lt;/a&gt; from which the film was borne. Sarah's recent book on the history of ACT UP, &lt;a href="https://www.akpress.org/let-the-record-show.html"&gt;Let the Record Show&lt;/a&gt;, is a go to resource for students of AIDS activism. Meanwhile, Jim continues to make &lt;a href="https://www.jimhubbardfilms.com/"&gt;experimental work drawing out this history aesthetically and personally.&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;I can not find this tape, and am concerned that it was stolen or lost, but you can see this important documentary elsewhere online.</text>
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                <text>&lt;a href="http://www.unitedinanger.com/?page_id=808" target="_blank" rel="noreferrer noopener"&gt;Study Guide for United in Anger&lt;/a&gt;</text>
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                <text>United in Anger: A History of ACT UP is an inspiring documentary about the birth and life of the AIDS activist movement from the perspective of the people in the trenches fighting the epidemic. Utilizing oral histories of members of ACT UP, as well as rare archival footage, the film depicts the efforts of ACT UP as it battles corporate greed, social indifference, and government neglect. (United in Anger Website)</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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                <text>Red Red Red</text>
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                <text>AIDS Activism, AIDS Criminalization</text>
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                <text>David Oscar Harvey</text>
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                <text>Red Red Red is a personal and political film about a law in Iowa that severely limits the social liberties of people with HIV. Eclectic in the presentation of its rhetoric, the film also considers broader questions like the contemporary state of queer politics, the dimensions of an identity for HIV positive persons and how it is that a Iowan convenience store chain came to called Kum N' Go. David worked with me as a fellow AIDS scholar, and now collaborates with me and others in the collective, &lt;a href="http://hivdoula.work/"&gt;What Would an HIV Doula Do&lt;/a&gt;?&lt;br /&gt;&lt;br /&gt;I am not sure if I had this video and it is lost, or if I added this to the collection at an earlier time because I think it is an important contribution to our understanding of HIV criminalization... In any case, it has not been digitized for this effort but remains a valuable resource.</text>
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                <text>&lt;a href="http://search.proquest.com/docview/1013522546?pq-origsite=gscholar" target="_blank" rel="noreferrer noopener"&gt;Harvey, David Oscar. Women's Studies Quarterly; New York40.1/2 (Spring 2012): 320-330.&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="http://glbtmoviedatabase.linkomm.net/movie/Red+Red+Red-mvx2136.html"&gt;Page on the Gay and Lesbian Movie Database&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.ejumpcut.org/archive/jc55.2013/HarveyPoz/index.html"&gt;Ghosts caught in our throat&lt;/a&gt;: of the lack of contemporary representations of gay/bisexual men and HIV, David Oscar Harvey</text>
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I do not think I had this as a VHS tape, but I put it in this list at an earlier time out of respect. It has bot been digitized for this effort but remains an invaluable resource even so.&#13;
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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Juanita Mohammed Szczepanski</text>
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                <text>&lt;br /&gt;Women of Vision: &lt;a href="https://books.google.com/books?id=cMk51aaPe9wC&amp;amp;pg=PA218&amp;amp;lpg=PA218&amp;amp;dq=Homosexuality:+One+Child%27s+Point+of+View+video&amp;amp;source=bl&amp;amp;ots=bOvAsvhTxE&amp;amp;sig=WU6nH8XvdFEXBUYOxIfMqk9NDkM&amp;amp;hl=en&amp;amp;sa=X&amp;amp;ved=0ahUKEwjOmfXSx6nTAhVr7IMKHSDHD1wQ6AEIOTAE#v=onepage&amp;amp;q=Homosexuality%3A%20One%20Child's%20Point%20of%20View%20&amp;amp;f=false" target="_blank" rel="noreferrer noopener"&gt;Histories in Feminist Film and Video&lt;/a&gt;</text>
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                <text>&lt;a href="vimeo.com/340243804/230a094b5b"&gt;Two Women&lt;/a&gt;, Juanita Mohammed Szczepanski and Pharaoh "Pharah" Diaz, &lt;a href="https://online.ucpress.edu/fmh/issue/5/4"&gt;Feminist Media Histories&lt;/a&gt;</text>
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                <text>This video was digitized and used in the VHS Archives class inspiring a public art performance and action about children's views of sexuality, called &lt;a href="https://activismvhs.omeka.net/exhibits/show/dear-j-"&gt;Dear J.&lt;/a&gt;</text>
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                <text>Juanita Mohammed Szczepanski was a community video artist and activist. She uses inexpensive camcorder video technology to respond to the needs of those who matter to her. Jahanara Zzaman is her daughter. In her work at GMHC in New York City, Mohammed Szczepanski makes educational videos for and about the AIDS community. In her personal video work, she looks to her friends and neighbors to find stories that are not typically represented in the media. This tape also has some footage of NY school children. Her &lt;a href="https://visualaids.org/blog/remembering-juanita-mohammed-szczepanski"&gt;tribute page with Visual AIDS&lt;/a&gt;, Remembering Juanita Mohammed Szczepanski (1957–2022), has most of her videos and writing collected, with tributes from friends, family, and fellow activists.</text>
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                <text>Love is you, &#13;
Love is me, &#13;
Love is everyone, &#13;
Love is not hate, &#13;
But love is friends loving friends, &#13;
Love is brotherhood, &#13;
Love is women loving women, &#13;
Love is men loving men, &#13;
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Love is NOT hate.”&#13;
 – Jazzy's poem in Homosexuality: One Child’s Point Of View, 1993</text>
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                <text>In HOMOSEXUALS: ONE CHILD’S POV (1991), it is clear from the name of the production company, Mother Daughter Productions, that Juanita is collaborating with her daughter, Jazzy. Indeed, Juanita facilitates her daughter’s cris de coeur on homosexuality and acceptance. As the title indicates, this is Jazzy’s POV, and she is the director, as well. At one point, Jazzy interviews a friend on how he feels about homosexuals. “I hate them,” he replies, and devolves into a homophobic riff. Jazzy cringes, looking at the camera in disgust. “Mother,” says Jazzy, “please turn off the camera.” Even though the interview is over, Jazzy and Juanita leave the exchange in and thus lay bare the bald face of the casual homophobia that so many of us have come to experience with family and friends. The collaborative intimacy of this mother/daughter team is palpable. --&lt;a href="https://visualaids.org/blog/remembering-juanita-mohammed-szczepanski"&gt;Jean Carlomusto&lt;/a&gt;</text>
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&#13;
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                <text>Scarlot Harlot attends San Francisco's Take Back the Night (December 1990), a march in remembrance of the fourteen female college students murdered in the previous year's Montreal Massacre. Clashes and controversy emerge between sex workers and anti-porn feminists about sex, violence and men with an emphasis on the perspectives of strippers and sexual rights activists. An excellent feminist discussion piece. W.O.W. Cafe (N.Y., N.Y.) VIDEO WITNESSES FESTIVAL OF NEW JOURNALISM, HALLWALLS (Buffalo, N.Y.), LOS ANGELES LESBIAN AND GAY FILM FESTIVAL (28 min.- 1991)</text>
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                <text>Carol is a longtime collaborator and friend. She was a subject of my Women of Vision, and we included her in Compulsive Practice (2016). &#13;
&#13;
&#13;
&#13;
&#13;
&#13;
&#13;
&#13;
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                <text>Carol Leigh (Scarlot Harlot). About the artist:&#13;
Scarlot Harlot, unrepentant whore, activist, and artist, is a brazen, brainy hooker. Since the late 1970s, Harlot (AKA Carol Leigh) has written, performed and produced work in a variety of genres on women's issues and her experiences in the sex industry. This collection of articles and essays documents over twenty years of prostitute radicalism from a leader of the sex workers' rights movement. Heady, political, and sexy, these autobiographical missives defend sex, queer rights and reproductive freedom and attack fundamentalist feminism, economic injustice and discrimination. Leigh's work explores a historic cultural and artistic underground from an irreverent point of view, challenging conventions of sexuality, aesthetics, technology and prevailing social mores.&#13;
&#13;
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                <text>&lt;a href="https://vimeo.com/192798505"&gt;Compulsive Practice&lt;/a&gt;, Visual AIDS, Day With(out) Art, 2016, curated by Hugh Ryan, Jean Carlomusto, and Alex Juhasz</text>
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                <text>&lt;a href="https://activismvhs.omeka.net/exhibits/show/hot-to-trot--sex--activism--pe"&gt;&lt;/a&gt;VHS Archives graduate course work on sex workers' rights, 2018. &lt;a href="https://activismvhs.omeka.net/exhibits/show/hot-to-trot--sex--activism--pe"&gt;Hot to Trot&lt;/a&gt;.</text>
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                <text>Featured at THE 5th INTERNATIONAL AIDS CONFERENCE, PARADISIO, Amsterdam, DEEP DISH SATELLITE TV, NEW MUSEUM OF CONTEMPORARY ART, N.Y. as part of VIDEO AGAINST AIDS by VIDEO DATA BANK.&#13;
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                <text>&lt;p&gt;Acquired for Alexandra Juhasz's doctoral dissertation, which then became her book entitled "&lt;a href="http://alexandrajuhasz.com/books/aids-tv/" target="_blank" rel="noreferrer noopener"&gt;AIDS TV&lt;/a&gt;." Although initially digitized for Alex's Fall 2018 VHS Archives class, her Spring 2020 VHS Archives class has found particular interest in this film's depiction of drug use and addiction.&lt;/p&gt;
&lt;p&gt;My graduate students in the VHS Archives class at Brooklyn College in 2018 did a great project about this early intervention into community-based, community-specific AIDS educational materials. Frances Negron [Documentary Filmmaker &amp;amp; Professor at Columbia University] is a friend and colleague. At the time we were collaborating again on a special issue of the journal Feminist Media Histories, "&lt;a href="https://online.ucpress.edu/fmh/issue/5/4"&gt;Informed Historical Reveries&lt;/a&gt;," revisiting "Women of Vision," my book and documentary about feminist media history, in which she was a subject.&lt;/p&gt;
&lt;p&gt;&lt;/p&gt;</text>
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&lt;p&gt;&lt;a target="_blank" href="https://books.google.com/books?id=J3OzH4XKscwC&amp;amp;pg=PA276&amp;amp;lpg=PA276&amp;amp;dq=%22AIDS+in+the+Barrio%22%09negron+biella&amp;amp;source=bl&amp;amp;ots=vCiYr5ISL-&amp;amp;sig=rvb7VLAGUzRYobJeLVfI99ejgkU&amp;amp;hl=en&amp;amp;sa=X&amp;amp;ved=0ahUKEwjzq-DYiazTAhVU9mMKHaJNBGcQ6AEIPDAF#v=onepage&amp;amp;q=%22AIDS%20in%20the%20Barrio%22%09negron%20biella&amp;amp;f=false" rel="noreferrer noopener"&gt;AIDS TV: Identity, Community, and Alternative Video Alexandra Juhasz, ‎Catherine Gund&lt;/a&gt;&lt;/p&gt;
&lt;p class="r"&gt;&lt;a href="https://books.google.com/books?id=YPSO6gPXWYQC&amp;amp;pg=PA212&amp;amp;lpg=PA212&amp;amp;dq=%22AIDS+in+the+Barrio%22%09negron+biella&amp;amp;source=bl&amp;amp;ots=TkEX-Brf8L&amp;amp;sig=L2Xr5eJTiPsYrEUhmG-PdLy9VXo&amp;amp;hl=en&amp;amp;sa=X&amp;amp;ved=0ahUKEwjzq-DYiazTAhVU9mMKHaJNBGcQ6AEIQDAG"&gt;Queer Ricans: Cultures and Sexualities in the Diaspora  &lt;/a&gt;&lt;a class="fl" href="https://www.google.com/search?client=firefox-a&amp;amp;sa=X&amp;amp;rls=org.mozilla:en-US:official&amp;amp;channel=fflb&amp;amp;biw=1426&amp;amp;bih=685&amp;amp;tbm=bks&amp;amp;q=inauthor:%22Lawrence+Martin+La+Fountain-Stokes%22&amp;amp;ved=0ahUKEwjzq-DYiazTAhVU9mMKHaJNBGcQ9AgIQTAG"&gt;Lawrence Martin La Fountain-Stokes&lt;/a&gt;&lt;a href="https://books.google.com/books?id=YPSO6gPXWYQC&amp;amp;pg=PA212&amp;amp;lpg=PA212&amp;amp;dq=%22AIDS+in+the+Barrio%22%09negron+biella&amp;amp;source=bl&amp;amp;ots=TkEX-Brf8L&amp;amp;sig=L2Xr5eJTiPsYrEUhmG-PdLy9VXo&amp;amp;hl=en&amp;amp;sa=X&amp;amp;ved=0ahUKEwjzq-DYiazTAhVU9mMKHaJNBGcQ6AEIQDAG"&gt; - 2009 - ‎History&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;a href="https://scalar.usc.edu/works/film7032/release-the-report"&gt;Release the Report&lt;/a&gt;, Class Project, 2018</text>
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                <text>Members of the Latino community in Philadelphia discuss the impact of the AIDS crisis on their lives in hopes of preventing others from acquiring the deadly disease. People Living with AIDS (PLWAs) honestly describe their own high-risk behavior - drug use and sexual promiscuity - which resulted in their infection with HIV. Family members reveal the heavy emotional and financial tolls the disease has taken on their lives. Participants also debate cultural factors, including machismo and traditional relations between men and women, that are ancillary factors in the epidemic. A minister/activist places the AIDS crisis within broader socio-economic contexts: unemployment, poverty, language barriers, and homophobia. He stresses the need for tolerance in the community as well as the use of condoms to halt the spread of the disease.&#13;
&#13;
&#13;
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                <text>&lt;a href="http://alexandrajuhasz.com/books/aids-tv/" target="_blank" rel="noreferrer noopener"&gt;AIDS TV: Identity, Community, and Alternative Video by Alexandra Juhasz&lt;/a&gt;</text>
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                <text>Made with Jean Carlomusto for the Gay Men's Health Crisis' "Living with AIDS" show, a weekly cable show on public access. Starring collaborator Carol Leigh. Carol was a subject of my book and documentary, Women of Vision. More of her work is available in this collection and I collaborated with her many more times over her storied career, including with students who used this archive, and some of its tapes, to make community-based art work connected to the ideas and approaches of these videos and the political circumstances of the present.</text>
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                <text>Mock, R. (2001). “Without you I’m nothing”: Sandra Bernhard’s self-referential postmodernism. Women’s Studies, 30(4), 543–562. https://doi.org/10.1080/00497878.2001.9979394</text>
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                <text>&lt;a href="http://www.twn.org/catalog/pages/cpage.aspx?rec=895&amp;amp;card=price" target="_blank" rel="noreferrer noopener"&gt;Third World Newsreel: The Woman's Film&lt;/a&gt;</text>
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                <text>Produced collectively by women, this documentary is a valuable historical document of the origins of the modern women's movement in the United States. The film delves into the lives of ordinary women from different races, educational levels and class Filmed mostly in small consciousness-raising groups, from which the women's movement grew, the women talk about the daily realities of their lives as wives, home-makers, and workers. They speak, sometimes with hesitancy, often with passion, about the oppression of women as they see it. THE WOMAN'S FILM was made entirely by women in San Francisco Newsreel. It was a collective effort between the women behind the camera and those in front of it. The script itself wsa written from preliminary interviews with the women in the film. Their participation, their criticism and approval were sought at various stages of production. Third World Newsreel’s historical Newsreel collection provides contemporary audiences with a vast archive of political documentary films chronicling the social movements of the late 1960s and early 1970s. Preserved with support from the Women’s Film Preservation Fund of New York Women in Film &amp;amp; Television. - &lt;a href="https://www.twn.org/catalog/pages/responsive/cpage.aspx?rec=895&amp;amp;card=price"&gt;Third World Newsreel&lt;/a&gt;</text>
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&lt;p&gt;&lt;a href="https://vimeo.com/217911753"&gt;Excerpt from "Lost Lost Lost" by Jonas Mekas 1976&lt;/a&gt; from &lt;a href="https://vimeo.com/jonasmekas"&gt;Jonas Mekas&lt;/a&gt; on &lt;a href="https://vimeo.com"&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>Intoxicating, moving, brilliant entre into bohemain NY by one of experimental cinema's giants. I love a diary film; the East Village; this film's pacing and dreamy focus; its slowness. I watched part of the film on 16mm one day with Minohla Dargis, when we were both in grad school at NYU. It was very cold in Anthology Film Archive's back room. Jonas was walking around behind us. A truly magical and memorable film moment.&lt;br /&gt;&lt;br /&gt;The box is labelled "Lost Lost Lost" (1976, 178 mins). This may be a mistake. &lt;br /&gt;&lt;span&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>Museum of Modern Art&lt;br /&gt;&lt;br /&gt;&lt;a href="https://mubi.com/films/lost-lost-lost" target="_blank" rel="noreferrer noopener"&gt;Mubi: Lost Lost Lost&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://film-makerscoop.com/catalogue/jonas-mekas-lost-los"&gt;Film-makers Coop&lt;/a&gt;&lt;span style="font-weight:400;"&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://www.imdb.com/title/tt0196499/"&gt;Diaries, Notes, and Sketches&lt;/a&gt;&lt;/span&gt;&lt;a href="https://www.imdb.com/title/tt0196499/"&gt;&lt;span style="font-weight:400;"&gt;&lt;/span&gt;&lt;/a&gt;&lt;br /&gt;&lt;span style="font-weight:400;"&gt;&lt;a href="https://www.imdb.com/title/tt0209110/"&gt;Lost Lost Lost&lt;/a&gt;&lt;/span&gt;</text>
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                <text>"Filmed in 1949-1963, edited 1976. These six reels of my film diaries come from the years 1949-1963. They begin with my arrival in New York in November 1949. The first and second reels deal with my life as a Young Poet and a Displaced Person in Brooklyn. It shows the Lithuanian immigrant community, their attempts to adapt themselves to a new land and their tragic efforts to regain independance for their native country. It shows my own frustrations and anxieties and the decision to leave Brooklyn and move to Manhattan. Reel three and reel four deal with my life in Manhattan on Orchard Street and East 13th St. First contacts with New York poetry and filmmaking communities. Robert Frank shooting THE SIN OF JESUS. LeRoy Jones, Ginsberg, Frank O'Hara reading at The Living Theatre. Documentation of the political protests of the late fifties and early sixties. First World Strike for Peace. Vigil in Times Square. Women for Peace. Air Raid protests. Reel five includes Rabbit Shit Haikus, a series of Haikus filmed in Vermont; scenes at the Film-Maker's Cooperatives; filming HALLELUJAH THE HILLS; scenes of New York City. Reel six contains a trip to Flaherty Seminar, a visit to the seashore in Stony Brook; a portrait of Tiny Tim; opening of TWICE A MAN; excursions to the countryside seen from two different views; that of my own and that of Ken Jacobs whose footage is incorporated into this reel. The period I am dealing with in these six reels was a period of desperation, of attempts to desparately grow roots into the new ground, to create new memories. In these six painful reels I tried to indicate how it feels to be in exile, how I felt in those years. These reels carry the title LOST, LOST, LOST, the title of a film myself and my brother wanted to make in 1949, and it indicates the mood we were in, in those years. It describes the mood of a Displaced Person who hasn't yet forgotten the native country but hasn't gained a new one. The sixth reel is a transitional reel where we begin to see some relaxation, where I begin to find moments of happiness. New life begins. What happens later, you'll have to see the next installment of reels ..." – J.M., March 31, 1976. Jonas Mekas. &lt;a href="https://film-makerscoop.com/catalogue/jonas-mekas-lost-lost-lost"&gt;the filmmaker's coop&lt;/a&gt;</text>
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                <text>Preserved by Anthology Film Archives through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation: https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&amp;month=12&amp;year=2012#showing-40275&#13;
&#13;
“No figure appears more firmly rooted in both the American avant-garde and downtown New York than Jonas Mekas …. Yet LOST LOST LOST, his…three-hour diary collage, tells a very different story, one of exile, displacement, and longing. It was completed in 1976 out of footage shot during an almost 15-year span, from his arrival in New York in 1949 (as a postwar Lithuanian refugee) to his engagement with the budding independent film scene of the early ‘60s. […] These are gnomic records of self-discovery, sealed in celluloid amber by their very act of creation. But this potently intimate epic transcends mere personal record to tap a universal sentiment. A photographic Homer of his own odyssey, Mekas journeys – like us all – in irrevocable exile from his own past, attempting to reconstruct that invisible nation of youth to which he can never return.” –Ed Halter, VILLAGE VOICE&#13;
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                <text>Reels 1-2: “Young Poet and a Displaced Person in Brooklyn”&#13;
Reels 3-4: “My life in Manhattan on Orchard Street and East 13th St.”&#13;
Reel 5: Projects in New ¥ork City&#13;
Reel 6: “New life begins.”&#13;
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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                <text>This dub was a gift to me from another Professor at Pitzer so that I could use it to teach women's and feminist film. Not sure I ever did. However, when I was editing my newest video, "Please Hold," in March 2024 as part of their amazing Film/Video editing Residency, I had the great fortune to see a show on Malador also at the Wexner Center for the Arts, &lt;a href="https://wexarts.org/exhibitions/sarah-maldoror-tricontinental-cinema"&gt;Sarah Malador: Tri-continental Cinema&lt;/a&gt;.&lt;br /&gt;&lt;div class="section"&gt;
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                <text>"Sambizanga has a sensual aesthetic, conveyed through scenes of everyday life: the couple Maria and Domingos, Maria’s long journeys on foot along dusty tracks, with the mist rising up from the ground, and Maria’s relationship with the child she carries on her back, who is cared for by other women when she stays with friends." (&lt;a href="https://festival.ilcinemaritrovato.it/en/proiezione/sambizanga-2/" target="_blank" rel="noreferrer noopener"&gt;Il Cinema Ritrovato&lt;/a&gt;)</text>
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                <text>This revolutionary bombshell by Sarah Maldoror chronicles the awakening of Angola’s independence movement. Based on a true story, Sambizanga follows a young woman as she makes her way from the outskirts of Luanda toward the city’s center looking for her husband after his arrest by the Portuguese authorities—an incident that will ultimately help to ignite a national uprising. Featuring a cast of nonprofessionals—many of whom were themselves involved in anticolonial resistance—this landmark work of political cinema honors the essential roles of women, as well as the hardships they endure, in the global struggle for liberation. &lt;a href="https://www.criterion.com/films/33101-sambizanga"&gt;The Criterion Collection&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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                <text>She Don't Fade/The Ride Pt. 1/ Absolutely Fabulous + OJ Chase                                                                                                       &#13;
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                <text>This is a crazy montage of a VHS tape. I seemed to have taped "The Ride Part 1" over the tail end of a bad dub of Cheryl Dunye's "She Don't Fade." I taught this series for many years as a strong representation of the possibilities for community-based, collective, activist youth video. It seems to also have some of the TV show "Absolutely Fabulous" recorded from TV on to the same tape with live coverage of the OJ Simpson chase superimposed onto the show. We always taped over things then!</text>
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                <text>Young filmmakers tour the U.S., taking 'funky shots' of fellow teens facing (or not) the problems of growing up. Created by Shauna Garr, a former producer of 'MTV News.' &lt;a href="https://www.tvguide.com/tvshows/the-ride/1030266802/"&gt;TV Guide&lt;/a&gt;</text>
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                <text>Award-winning comedy set in the world of fashion and PR with Jennifer Saunders as the immature fun-loving mother and Julia Sawalha as her sensible daughter. -&lt;a href="https://www.bbc.co.uk/programmes/b00jm3ms"&gt;BBC One&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.janusfilms.com/films/2079"&gt;Janus Films&lt;/a&gt;</text>
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                <text>The only feature from the radical Afro-Cuban filmmaker Sara Gómez—who also worked as an assistant director with Agnès Varda and Tomás Gutiérrez Alea before her untimely death at age thirty-one—is an extraordinary portrait of post-revolution Cuba. Blending invaluable documentary footage with a loose narrative about the budding relationship between an outspoken schoolteacher (Yolanda Cuellar) and a young worker (Mario Balmaseda) facing a moral crisis, One Way or Another depicts revolution as an ongoing process that takes place at the level of community—among friends, lovers, coworkers, teachers, students, and parents, all of whom must work together to negotiate a new social order. Above all, Gómez offers a trenchant intersectional critique of the lingering sexism and machismo that, she argues, must be cleared away in order to create a truly just society. -&lt;a href="https://www.janusfilms.com/films/2079"&gt;Janus Films&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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              <text>&lt;a href="https://www.amazon.com/gp/video/detail/B071DWQP75/ref=atv_dl_rdr" target="_blank" rel="noreferrer noopener"&gt;Watch on Amazon&lt;/a&gt;</text>
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              <text>For research, teaching, and educational use please use CONTACT US in About section to make a request for access.</text>
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                <text>Dub of VHS filmed from 16mm print projected on a wall. I taught this film frequently in feminist film classes. It never stops giving: ideas about watching, time, and female's agency as actor, director, viewer, and "homemaker." &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;&lt;/span&gt;</text>
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                <text>&lt;a href="https://www.criterion.com/current/posts/1215-a-matter-of-time-jeanne-dielman-23-quai-du-commerce-1080-bruxelles" target="_blank" rel="noreferrer noopener"&gt;Criterion Essay, Ivone Margulies (2009)&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.thecine-files.com/teaching-jeanne-dielman-23-quai-du-commerce-1080-bruxelles/"&gt;The Cine-Files (Fall 2017)&lt;/a&gt;</text>
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                <text>&lt;span&gt;"A singular work in film history, Chantal Akerman’s &lt;/span&gt;&lt;em&gt;Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles&lt;/em&gt;&lt;span&gt; meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow, whose chores include making the beds, cooking dinner for her son, and turning the occasional trick. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world." &lt;a href="https://www.criterion.com/films/302-jeanne-dielman-23-quai-du-commerce-1080-bruxelles"&gt;(Criterion)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>A singular work in film history, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow, whose chores include making the beds, cooking dinner for her son, and turning the occasional trick. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or as one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades. -&lt;a href="https://www.criterion.com/films/302-jeanne-dielman-23-quai-du-commerce-1080-bruxelles"&gt;Criterion Collection&lt;/a&gt;</text>
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                <text>Gift from filmmaker Susan Mogul. She was one of the subjects of my documentary, Women of Vision, and I also brought her often to Pitzer college to screen her tapes. She became a colleague and friend.</text>
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                <text>"&lt;em&gt;Sing, O Barren Woman&lt;/em&gt;, part documentary part music video, satirizes and celebrates a taboo subject--voluntary childlessness. Susan Mogul gives voice to ten women who are childless by choice (or default) as they come out as non-mothers speaking and "singing" about the stereotypes of the "barren" woman. 'Never mentioned in public or given a voice, we’re invisible women who made a provocative choice.'" &lt;a href="https://www.vdb.org/collection/browser-artist-list/sing-o-barren-woman" target="_blank" rel="noreferrer noopener"&gt;(VDB)&lt;/a&gt;</text>
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&lt;p&gt;&lt;a href="https://vimeo.com/45333410"&gt;Lucille&lt;/a&gt; from &lt;a href="https://vimeo.com/freewaves"&gt;Freewaves&lt;/a&gt; on &lt;a href="https://vimeo.com"&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>Gift from filmmaker. Enid was a frequent collaborator as an editor and artist, and one of my favorite video artists of the 1990s. She edited my documentaries, Dear Gabe and Video Remains. She continues making art that links to the sciences focusing on outdoor social-emotional learning.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;&lt;/span&gt;</text>
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                <text>&lt;a href="http://www.sistersincinema.com" target="_blank" rel="noreferrer noopener"&gt;Sisters in Cinema&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.twn.org/catalog/pages/responsive/cpage.aspx?rec=860&amp;amp;card=price" target="_blank" rel="noreferrer noopener"&gt;Third World Newsreel: Missing Relations&lt;/a&gt;</text>
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                <text>Sisters in the Life, Yvonne Welbon and Alexis Pauline Gumbs, &lt;a href="https://online.ucpress.edu/fmh/issue/5/4"&gt;Feminist Media Histories&lt;/a&gt;</text>
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                <text>&lt;span&gt;Gift from filmmaker. Yvonne is my longtime friend and collaborator. I teach her films frequently in courses on feminist, queer, and documentary film. She was one of the subjects for my project, &lt;a href="http://alexandrajuhasz.com/books/women-of-vision/" target="_blank" rel="noreferrer noopener"&gt;Women of Vision.&lt;/a&gt; Later yet we co-edited the scholarly anthology &lt;a href="https://www.dukeupress.edu/sisters-in-the-life" target="_blank" rel="noreferrer noopener"&gt;"Sisters in the Life: A History of Out African American Lesbian Filmmaking"&lt;/a&gt; (Duke 2018).&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>Almost 30 years ago, the filmmaker's mother gave birth to twin daughters. For a few months, Welbon shared her childhood with her baby sisters until their father "kidnapped" them. Welbon never saw her sisters again. Through narrative recreations of time and place, the video explores childhood memories of love, loss and family. -- &lt;a href="https://www.twn.org/catalog/pages/responsive/cpage.aspx?rec=860&amp;amp;card=price"&gt;Third World Newsreel&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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                <text>&lt;span&gt;Gift from filmmaker. Elisabeth is a friend, colleague, and queer feminist experimental compatriot. She wrote about this film for the book I co-edited with Jesse Lerner, "&lt;a href="https://www.upress.umn.edu/book-division/books/f-is-for-phony" target="_blank" rel="noreferrer noopener"&gt;F is For Phony: Fake Documentary and Truth's Undoing&lt;/a&gt;" (University of Minnesota Press, 2006). &lt;/span&gt;</text>
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                <text>A cinematic doppelganger without precedent, Elisabeth Subrin's Shulie uncannily and systemically bends time and cinematic code alike, projecting the viewer 30 years into the past to rediscover a woman out of time and a time out of joint—and in Subrin's words, 'to investigate the mythos and residue of the late 60s.' Staging an extended act of homage, as well as a playful, provocative confounding of filmic propriety, Subrin and her creative collaborator Kim Soss resurrect a little-known 1967 documentary portrait of a young Chicago art student, who a few years later would become a notable figure in Second Wave feminism, and author of the radical 1970 manifesto, The Dialectic of Sex: The Case for Feminist Revolution. Reflecting on her life and times, Shulie functions as a prism for refracting questions of gender, race and class that resonate in our era as in hers, while through painstaking mediation, Subrin makes manifest the eternal return of film."&#13;
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—Mark MacElhatten and Gavin Smith, Curators, Views from the Avant Garde, The 36th New York Film Festival, Lincoln Center, New York</text>
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                <text>&lt;span&gt;I taught these films often in feminist documentary as well as in a course on ethnographic film and autobiography. Barbara Myerhoff's self-reflexive, community-situated documentary-making has long been a model for me. I learned about her work from my mentor, teacher, and friend, Faye Ginsburg.&lt;/span&gt;</text>
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                <text>&lt;em&gt;In Her Own Time&lt;/em&gt; &lt;br /&gt;Based on the field work of Dr. Barbara Myerhoff, this is a documentary exploring the diverse Fairfax district Jewish Community in Los Angeles, California." &lt;a href="Based%20on%20the%20field%20work%20of%20Dr.%20Barbara%20Myerhoff,%20this%20is%20a%20documentary%20exploring%20the%20diverse%20Fairfax%20district%20Jewish%20Community%20in%20Los%20Angeles,%20California." target="_blank" rel="noreferrer noopener"&gt;(IMDB)&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.directcinema.com/category/131/225"&gt;Direct Cinema&lt;/a&gt;</text>
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                <text>Anthropologist Barbara Myerhoff was studying the Jewish orthodox area of L.A. when she learned she had cancer. Filmmaker Lynne Littmean helped her continue the project and this resultingwork became a spiritual and social exploration of Judaism. In 1981, Professor Barbara Myerhoff began an anthropological study of the Fairfax district in Los Angeles. Fascinated by the influence of Orthodox Judaism in creating a community, she decided to make a film about this village in the heart of Los Angeles. In June of 1983, Dr. Myerhoff learned that she had cancer. She asked director Lynne Littman, with whom she had collaborated on the Academy Award-winning Number Our Days, to join the project, which she realized would probably be her last work. Throughout the research and filming of In Her Own Time, Dr. Myerhoff explored her own evolving relationship to Orthodox Judaism, revealing the continuing importance of religious traditions and practices for individuals and families today. More than simply urban or religious anthropology, In Her Own Time is a personal as well as a social exploration of enduring values and commitments that speaks to individuals from all ethnic traditions and walks of life. -&lt;a href="https://www.directcinema.com/category/131/225"&gt;Direct Cinema&lt;/a&gt;</text>
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                <text>A sensitive portrait of a community of elderly Eastern European Jews who, living by the Pacific Ocean in Venice, California, sustain their vivid culture in the face of poverty, loneliness, and extreme old age. Based on the book by the late Barbara Myerhoff. Best Short Documentary, 1976 Academy Awards. -- &lt;a href="https://jfi.org/year-round/jfi-on-demand/number-our-days"&gt;Jewish Film Institute&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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                <text>Gift from filmmaker. Joan is a fellow activist from LA. The box says "FABULOUS FORESTS: Cameroon/Indonesia Part One" on the top. My guess is that she recorded over the original tape to give me this dub.  When I digitized it at the Brooklyn College Faculty Lab the tape slowed down and stopped the recording. It is now in two digitized parts, listed below.</text>
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                <text>Deep Dish Television; &#13;
Independent Media Center; Seattle, &#13;
Big Noise Films, &#13;
Changing America, &#13;
Free Speech TV, &#13;
Headwaters Action Video, &#13;
Paper Tiger TV, &#13;
VideoActive, &#13;
Whispered Media</text>
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                <text>I Stare at You and Dream is a slice of life melodrama that journeys to the core of interrelationships. This film juxtaposes and links the lives of four people: the filmmaker, Susan Mogul; her friend, Rosie Sanchez; Rosie’s teenage daughter, Alejandra (Alex) Sanchez; and Ray Aguilar; Susan’s-on-and-off boyfriend. Tender and unflinching, each character gradually reveals their desires, wounds, and romantic entanglements in the context of their everyday lives. &lt;a href="https://www.vdb.org/collection/browser-artist-list/i-stare-you-and-dream" target="_blank" rel="noreferrer noopener"&gt;(VDB)&lt;/a&gt;</text>
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                <text>&lt;span&gt;Gift from filmmaker. She is a friend and colleage and also wrote an essay for my collection "&lt;a href="http://alexandrajuhasz.com/books/f-is-for-phony/" target="_blank" rel="noreferrer noopener"&gt;F is for Phony: Fake Documentary and Truth's Undoing&lt;/a&gt;," co-edited with Jesse Lerner (University of Minnesota Press, 2006) about her compelling reenactment film, Shulie.&lt;br /&gt;&lt;/span&gt;</text>
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                <text>The Fancy is a speculative, experimental work that explores the short life of Francesca Woodman (1958-1981), culled only from the public record of published catalogues of and about her photographs. Structural in form, the video radically reorganizes information from the catalogues in order to pose questions about biographical form, history and fantasy, female subjectivity, evidence, and issues of authorship and intellectual property. "One of the most moving evocations of the irreplaceable quiddity of a person... Somehow Ms. Subrin confers immortality on her subject while at the same time making vivid her irrevocable absence." —A.O.Scott, "Video Art in a World on Tape," The New York Times from&lt;a href="https://elisabethsubrin.com/The-Fancy"&gt; elisbethsubrin.com&lt;/a&gt;</text>
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                <text>Homecoming uses the story of Charlene Gilbert's family, who grew cotton and vegetables in Montezuma, Georgia, to tell the story of black agriculture in the south from the Civil War. By 1920, there were nearly one million black farmers in American, a number that dropped to fewer than 18,000 by the end of the century. While those figures parallel the decline of farming nationwide, Homecoming points out how racist practices affected Black farmers. Homecoming features archival footage of farms and the voices of Malcolm X and Julian Bond. Also included are excerpts from the testimony of freed slaves who went on to farm. The film, produced for the Independent Television Service, has won many awards including Best Documentary by the Prized Pieces International Film and Video Festival. Charlene Gilbert is an independent filmmaker living in Cambridge, Mass., where she is a Bunting Fellow at Harvard University. She received her B.A. from Yale University and her M.F.A. from Temple University. Gilbert's works have been shown at national and international festivals. --&lt;a href="https://www.swarthmore.edu/black-studies-program/homecomingsometimes-i-am-haunted-memories-red-dirt-and-clay"&gt;Swarthmore College&lt;/a&gt;</text>
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                <text>&lt;span&gt;Gift from filmmaker. I believe I acquired many of Charlene's films when I wrote an evaluation letter for her. I also knew her from Philly when I was making "The Watermelon Woman." She acted in some of the photos for Cheryl Dunye and Zoe Leonard's &lt;a href="https://www.artbook.com/0963109588.html"&gt;Fae Richards Archive, which I executive produced.&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Gift from filmmaker. I believe I acquired many of Charlene's films when I wrote a letter of evaulation for her as a fellow academic. I also knew her socially from Philly when I was making The Watermelon Woman with Cheryl Dunye.&lt;br /&gt;&lt;br /&gt;Made for Voting in America, &lt;span class="MuiBox-root mui-0"&gt;&lt;span&gt;"9 short documentaries about why some people don't vote and how others are trying to change their minds."&lt;/span&gt;&lt;/span&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
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              <text>&lt;a href="https://ayomentary.com/" target="_blank" rel="noreferrer noopener"&gt;Ayoka Chenzira&lt;/a&gt;</text>
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                <text>Dub for teaching. I used these films often in my first years teaching feminist and women's film. Maybe Women Make Movies or the artists sent them to me for research for my film and book, &lt;a href="https://store.cinemaguild.com/nontheatrical/product/1007.html"&gt;Women of Vision&lt;/a&gt;.</text>
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                <text>&lt;em&gt;&lt;strong&gt;Hair Piece&lt;/strong&gt;&lt;/em&gt;&lt;br /&gt;&lt;a href="https://ayomentary.com/black-indie-classics-collection-vol-1/hair-piece/" target="_blank" rel="noreferrer noopener"&gt;Ayomentary: Hair Piece&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.spelman.edu/about-us/news-and-events/our-stories/stories/2019/01/04/ayoka-chenzira-national-registry" target="_blank" rel="noreferrer noopener"&gt;Spelman: Our Stories Film by Ayoka Chenzira Added to National Registry&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.degruyter.com/document/doi/10.1515/9780822387961-012/html" target="_blank" rel="noreferrer noopener"&gt;Post–Third Worldist Culture: Gender, Nation, and the Cinema by Ella Shohat&lt;/a&gt;</text>
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                <text>&lt;strong&gt;&lt;em&gt;Flag&lt;/em&gt;&lt;/strong&gt;&lt;br /&gt;&lt;a href="https://www.upress.umn.edu/book-division/books/a-line-of-sight" target="_blank" rel="noreferrer noopener"&gt;A Line of Sight American Avant-Garde Film since 1965 by Paul Arthur&lt;/a&gt;</text>
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                <text>Hair Piece: A Film for Nappyheaded People (1984) is an animated satire that unpacks the stereotypes associated with Black hair texture and styles, and the ways in which Black hair is made to be non-normative. In this satirical short that incorporates mixed media and animation, Chenizira critiques the limits of the European beauty standard. She draws attention to the physical pains Black women have endured to straighten their hair, and the emotional pain that comes as a result of the pressure to conform. Hair Piece also commemorates the power of Black cultural icons and the Soul Power era for helping to shift the perception of Black hair from ‘nappy’ to a texture of beauty. -- &lt;a href="https://vimeo.com/259319228"&gt;Ayoka Chenzira&lt;/a&gt;</text>
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                <text>Linda Gibson revisits the emotional disturbance produced by her early fascination with patriotic symbols and rituals. She assembles a patchwork of scenes around discrepancies between democratic rhetoric and the reality of racial exclusion, mingling a child’s diary entries, stills and home movies, printed texts, street interviews with people attempting to define the meaning of the American flag, and a medley of physical routines in which idiosyncratic dance movements collide with stylized variations on saluting. “Flag” flickers with the uncertainties of memory, the evocation of a child’s credulous view of equality tempered by an adult knowledge of social hierarchy and oppression. – &lt;a href="https://letterboxd.com/film/flag-1989/"&gt;Paul Arthur&lt;/a&gt;</text>
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                  <text>VHS Activism is based on collections of VHS tapes linked to themes like AIDS and Activism. Over the course of her career, Prof. Alexandra Juhasz collected hundreds of VHS tapes by film artists out of the mainstream of cinema. In some cases, these films are not commercially available. This collection is designed to bring together the digitizations of the tapes themselves with student-driven annotations, as well as records and references in other media, such as reviews, websites, and study guides. This project is part of the OER Pilot Project at Brooklyn College.</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="224">
                  <text>Alexandra Juhasz</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="40">
              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="225">
                  <text>1980-2010</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="226">
                  <text>Emily Fairey</text>
                </elementText>
                <elementText elementTextId="3889">
                  <text>Brianna Jones</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="227">
                  <text>Creative Commons</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="228">
                  <text>Video VHS</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="44">
              <name>Language</name>
              <description>A language of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3890">
                  <text>English</text>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
        </elementSet>
      </elementSetContainer>
    </collection>
    <itemType itemTypeId="3">
      <name>Moving Image</name>
      <description>A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.</description>
      <elementContainer>
        <element elementId="14">
          <name>Director</name>
          <description>Name (or names) of the person who produced the video</description>
          <elementTextContainer>
            <elementText elementTextId="2928">
              <text>Deep Dish TV</text>
            </elementText>
            <elementText elementTextId="4161">
              <text>IMC-TV 2000</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="13">
          <name>Producer</name>
          <description>Name (or names) of the person who produced the video</description>
          <elementTextContainer>
            <elementText elementTextId="4163">
              <text>&lt;a href="https://indymedia.org/" target="_blank" rel="noreferrer noopener"&gt;Indymedia Center&lt;/a&gt;</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="11">
          <name>Duration</name>
          <description>Length of time involved (seconds, minutes, hours, days, class periods, etc.)</description>
          <elementTextContainer>
            <elementText elementTextId="5310">
              <text>1:00:00 </text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="28">
          <name>URL</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="5623">
              <text>https://archive.org/details/ddtv_187_breaking_the_bank</text>
            </elementText>
            <elementText elementTextId="5715">
              <text>For research, teaching, and educational use please use CONTACT US in About section to make a request for access.</text>
            </elementText>
          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
    <elementSetContainer>
      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2927">
                <text>Breaking the Bank</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="73">
            <name>Is Referenced By</name>
            <description>A related resource that references, cites, or otherwise points to the described resource.</description>
            <elementTextContainer>
              <elementText elementTextId="2929">
                <text>&lt;a href="https://vimeo.com/user13483774" target="_blank" rel="noreferrer noopener"&gt;Big Noise Films on Vimeo&lt;/a&gt;</text>
              </elementText>
              <elementText elementTextId="4159">
                <text>&lt;a href="https://papertiger.org/breaking-the-bank-broadcast-version/" target="_blank" rel="noreferrer noopener"&gt;Paper Tiger&lt;/a&gt;</text>
              </elementText>
              <elementText elementTextId="4160">
                <text>&lt;a href="http://igc.org/" target="_blank" rel="noreferrer noopener"&gt;Institute for Global Communications&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2930">
                <text>Gift from filmmaker. For research and teaching.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2932">
                <text>2000</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2933">
                <text>documentary, activism, capitalism, </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4157">
                <text>VHS</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4158">
                <text>Documentary</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="55">
            <name>Abstract</name>
            <description>A summary of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="4162">
                <text>After the Seattle victory that stopped the World Trade Organization in its ‘fast’ tracks, tens of thousands converged to challenge the International Monetary Fund and World Bank at their April 2000 meeting in Washington D.C. Once again, video makers from the Independent Media Center were on the spot to provide the non-corporate coverage you just won’t find anywhere else. “Breaking the Bank” features two half-hour segments produced after broadcast. &lt;a href="https://papertiger.org/breaking-the-bank-broadcast-version/" target="_blank" rel="noreferrer noopener"&gt;(Paper Tiger)&lt;/a&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4164">
                <text>Big Noise Films, Sleeping Giant Productions, Changing America, Deep Dish TV, Headwaters Action Video Collective, Videoactive, Whispered Media + more</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="382">
        <name>2000</name>
      </tag>
      <tag tagId="227">
        <name>activism</name>
      </tag>
      <tag tagId="231">
        <name>Breaking the Bank</name>
      </tag>
      <tag tagId="233">
        <name>capitalism</name>
      </tag>
      <tag tagId="396">
        <name>Deep Dish TV; IMC-TV 2000 (many contributros)</name>
      </tag>
      <tag tagId="58">
        <name>documentary</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
