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&lt;p&gt;&lt;a href="https://vimeo.com/92403607"&gt;Pull My Daisy&lt;/a&gt; from &lt;a href="https://vimeo.com/user27109177"&gt;Altarwise&lt;/a&gt; on &lt;a href="https://vimeo.com"&gt;Vimeo&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>Women with a Past brings together four 20th Century artists — Yvonne Rainer, Christine Choy, Martha Rosler, and Nancy Spero — in videotaped interviews, shaped and edited by Lyn Blumenthal to examine the art of documentary. In a skillfully woven series of scenes in which the interviewer’s voice is not heard, the interviewees appear to be talking directly, intimately to the viewer. Blumenthal used short segments of each woman’s work to demonstrate how her philosophical and political stances are articulated. -&lt;a href="https://www.vdb.org/titles/women-past"&gt;VDB&lt;/a&gt;</text>
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                <text>Rainer’s last feature is also one of her most personal, inspired by the lows and highs of a breast cancer diagnosis in the early 1990s, and the surprise of a burgeoning lesbian relationship. The latter is playfully refracted here through the love story of two women from very different backgrounds: Yvonne’s sixty-something screen counterpart Doris (Joanna Merlin) who gleefully announces that she “loves eating pussy,” and the younger academic she’s soon to move in with, Mildred (Kathleen Chalfant). A comic romance whose emotions are amplified by Rainer’s structural tomfoolery and signature intellectual rigor—with the director providing running commentary and appearing intermittently to address the camera—MURDER and murder probes the pleasures, and attendant questions, of late-in-life love affairs. -- &lt;a href="https://zeitgeistfilms.com/film/murderandmurder"&gt;Zeitgest Films&lt;/a&gt;</text>
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                <text>&lt;span&gt;Acquired as research for Women of Vision from the distributors. I also used this film for classes in women's and feminist films. Yvonne was my teacher at the Whitney Program in the 1980s. She can be seen in the 4+ hours of research footage I shot for this project in NYC in 1990, along with 40 other media feminists, &lt;a href="https://womxn-of-vision.netlify.app/item/research-meeting-1994/" target="_blank" rel="noreferrer noopener"&gt;now online&lt;/a&gt; as part of the larger re-visit to this project &lt;a href="https://online.ucpress.edu/fmh/article-abstract/5/4/1/109521/Editors-IntroductionInformed-Historical-Reveries?redirectedFrom=fulltext" target="_blank" rel="noreferrer noopener"&gt;published&lt;/a&gt; by Feminist Media Histories in 2019.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;"&lt;span&gt;Rainer's landmark film is a meditation on ambivalence that plays with cliche and the conventions of soap opera while telling the story of a woman whose sexual dissatisfaction masks an enormous anger." &lt;a href="https://www.imdb.com/title/tt0071497/" target="_blank" rel="noreferrer noopener"&gt;(IMDB)&lt;/a&gt;&lt;/span&gt;</text>
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                <text>What You Take for Granted</text>
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                <text>&lt;span&gt;Gift from filmmaker. Michelle is a friend and colleague and was one of the subjects of my documentary &lt;a href="http://alexandrajuhasz.com/films-videos/women-of-vision-18-histories-in-feminist-film-and-video/" target="_blank" rel="noreferrer noopener"&gt;Women of Vision&lt;/a&gt;, she gave me copies of her work to use as b-roll.&lt;/span&gt;</text>
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                <text>&lt;span&gt;Drama-documentary about six women who have 'made it' in male-dominated work areas, as truck driver, doctor, cablesplicer, sculptor, carpenter and philosophy professor. Uses fictionalised interviews based on interviews conducted by the filmmaker with over forty women doing all types of non-traditional jobs. A narrative involving the doctor and truck driver characters is intercut with interviews. (&lt;a href="https://www2.bfi.org.uk/films-tv-people/4ce2b6e610982" target="_blank" rel="noreferrer noopener"&gt;BFI&lt;/a&gt;)&lt;/span&gt;</text>
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                <text>The tentative friendship of Anna, a feisty truck driver, and Diana, an upper middle-class doctor, provides the core for an unusual, intimate and moving look at women's experiences in jobs traditionally held by men. Based on actual interviews of forty working women, the film intercuts the story of Anna and Diana with fictionalized interviews of four other non-traditionally employed women. --&lt;a href="https://www.wmm.com/catalog/film/what-you-take-for-granted/"&gt;Women Make Movies&lt;/a&gt;</text>
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                <text>&lt;a href="http://www.wmm.com/filmCatalog/pages/c191.shtml" target="_blank" rel="noreferrer noopener"&gt;Women Make Movies: What You Take For Granted&lt;/a&gt;</text>
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                <text>Informed Historical Reveries, Angela Agauyo and Alexandra Juhasz, editors, &lt;a href="https://online.ucpress.edu/fmh/issue/5/4"&gt;Feminist Media Histories&lt;/a&gt; Vol 4 Issue 5</text>
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                <text>Michelle Citron is an award-winning digital and film artist focusing on women’s lived experiences. Her work has been&#13;
shown at the Museum of Modern Art, the Whitney Museum of American Art, The Walker Art Center, the Museum of&#13;
Contemporary Art/Chicago, and the American Film Institute, as well as the New Directors, Berlin, London, Edinburgh,&#13;
Viper, and SeNef film and new media festivals. Her films and interactive narratives are distributed worldwide and are&#13;
in the permanent collections of over two hundred universities and museums. She has received numerous awards and&#13;
fellowships including two National Endowment for the Arts Filmmaking Fellowships, a National Endowment for the&#13;
Humanities Media Grant, and three Illinois Arts Council Artist Fellowships, for digital arts, filmmaking, and&#13;
screenwriting.&#13;
Her work includes the interactive narratives Cocktails &amp; Appetizers, Mixed Greens, and As American As Apple&#13;
Pie (collected at queerfeast.com) and the films Daughter Rite, Parthenogenesis, What You Take For&#13;
Granted..., and Leftovers. She is the author of the awarding winning book Home Movies and Other Necessary&#13;
Fictions.</text>
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                <text>Featuring:  Belinda Cloud, Mossetta Harris, Fran Harth, Donna Blue Lachman, Jan Lucas, Lilly Ollinger</text>
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                <text>Music: &#13;
&#13;
I'm Crazy (For Chasin' After You)&#13;
Written by Karen Pritikin&#13;
Performed by Paula Lazarus&#13;
Halt!&#13;
Written and performed by Donna Blue Lachman&#13;
I Just Can't Go Home Again&#13;
Written and performed by Karen Pritikin</text>
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                <text>Other Films using interviews to build the scripts:&#13;
The Arbor (2010) – Clio Barnard&#13;
Testimony: The Maria Gorbachova Story (2023) – Svetlana Soboleva&#13;
Seven (2010, Stage &amp; Documentary Adaptations)&#13;
The Vagina Monologues (2002, Film Adaptation) – Eve Ensler&#13;
Sisters in Law (2005) – Kim Longinotto &amp; Florence Ayisi&#13;
India’s Daughter (2015) – Leslee Udwin&#13;
The Rape of Recy Taylor (2017) – Nancy Buirski&#13;
Let It Come Down: The Life of Angela Davis (2018) – Göran Olsson</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/Children-Will-Listen-Charlene-Gilbert/dp/B0006UEVGS" target="_blank" rel="noreferrer noopener"&gt;Buy DVD on Amazon&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>Almost 150 children in the Washington, DC, public-school system most of whom had never seen a play before-work together to produce and perform the Broadway junior version of Into the Woods, written by Stephen Sondheim and James Lapine. The film shows us what an empowering journey this is for all the students involved-how it makes them feel special, useful, intelligent and driven. &lt;a href="https://fest.afi.com/2004/screen-education-2004/children-will-listen/" target="_blank" rel="noreferrer noopener"&gt;(AFI)&lt;/a&gt;</text>
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                <text>&lt;a href="https://www.utoledo.edu/al/svpa/theatrefilm/faculty/Gilbert.html" target="_blank" rel="noreferrer noopener"&gt;U of Toledo: Charlene Gilbert&lt;/a&gt;</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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                <text>“Giving voice to ten women who chose not to have children, Mogul’s video simultaneously offers a hilarious and poignant meditation on all manner of life choices and the necessity of living with their consequences.” —David Pagel, Los Angeles Times from &lt;a href="https://www.susanmogul.com/work/sing-o-barren-woman/"&gt;susanmogul.com&lt;/a&gt;</text>
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                <text>Without You, I'm Nothing</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2697">
                <text>&lt;span&gt;I taught this film for many years. It felt utterly cutting edge to me, primarily for its no-holds-barred attack on racism from Sandra Bernhard's debased position of whiteness. It's cheeky queerness also felt utterly new in its time.&lt;/span&gt;&lt;br /&gt;&lt;span&gt;&lt;/span&gt;</text>
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          <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="2699">
                <text>1990</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2700">
                <text>queer, whiteness, racism, feminist, performance</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4012">
                <text>Sandra Bernhard</text>
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            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="4013">
                <text>VHS</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4014">
                <text>English</text>
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            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4015">
                <text>comedy film</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="55">
            <name>Abstract</name>
            <description>A summary of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="4461">
                <text>"&lt;span&gt;Sandra Bernhard stars in a studio version of her off-Broadway show, blending re-enactments of the original show's pieces with concept vignettes and 'testimonials' to underscore the relationship between a performer and an audience." &lt;a href="https://www.imdb.com/title/tt0100946/" target="_blank" rel="noreferrer noopener"&gt;(IMDB)&lt;/a&gt;&lt;/span&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="82">
            <name>Bibliographic Citation</name>
            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
            <elementTextContainer>
              <elementText elementTextId="5341">
                <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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        <name>comedy</name>
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        <name>feminist</name>
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        <name>one-woman show</name>
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        <name>performance</name>
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      <tag tagId="47">
        <name>queer</name>
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        <name>whiteness</name>
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        <name>Without You I'm Nothing</name>
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      <tag tagId="61">
        <name>woman director</name>
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</itemContainer>
