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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>My work: a short video introducing the themes and families who would be the subject of my feature on feminist queer families, including my own, Dear Gabe. The short premiered at the Sundance Film Festival in 2002. It is about the Jewish babynaming ceremony for Prairie, the daugher of my friends Hali and Margie Hammer-Hutchison, and features interviews with several of my dearest friends from college, and also my partner at the time, and the other mother of my kids, Cheryl Dunye.</text>
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                <text>Friends and relatives join together to celebrate a Bay Area lesbian couple's Jewish baby-naming ceremony demonstrating how the most ancient of institutions - the family and Judaism- can adapt to a contemporary life. A joyous celebration of both tradition and change. --&lt;a href="https://jfi.org/year-round/jfi-on-demand/naming-prairie"&gt;Jewish Film Institute&lt;/a&gt;</text>
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                <text>Gift from filmmaker. I collaborate often with Todd and his husband, David, prolific filmmakers, writers, directors and producers. P. David and I were early producers on Cheryl Dunye's HBO film, Stranger Inside.</text>
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                <text>Based on Thomas Mann's novella "Death in Venice," this tragic parable about repression, obsession, and the peril of love tells of a despondent middle-aged writer who, while on summer vacation, is lured from his books by his sister-in-law's seductive son. --&lt;a href="https://www.tcm.com/tcmdb/title/521058/death-in-venice-ca#overview"&gt;TCM&lt;/a&gt;</text>
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                <text>&lt;span&gt;Gift from filmmaker. Victor was a colleague at the Claremont Colleges. We spoke often about his developing documentary practice. Susan is a friend and colleague. The documentary makes an important intervention into queer and trans history and film by introducing the organizing power and history of transpeople outside of NY and before Stonewall.&lt;/span&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>&lt;span&gt;&lt;span&gt;Gift from filmmaker. Cheryl is a long-time collaborator (we made The Watermelon Woman together). I teach her videos often. She is my ex-partner. Cheryl's work is formative in her documentary/fiction bleed. I taped Body Beautiful onto this tape that Cheryl gave me of Potluck, and used them both for teaching.&lt;br /&gt;&lt;br /&gt;One of the 18 subjects of my book and documentary, Women of Vision, she co-authored an essay "&lt;/span&gt;&lt;/span&gt;&lt;a href="https://online.ucpress.edu/fmh/article-abstract/5/4/68/109531/The-Fourth-WallWomen-of-Vision-Revisited?redirectedFrom=fulltext"&gt;The Fourth Wall&lt;span class="subtitle-colon"&gt;: &lt;/span&gt;&lt;/a&gt;&lt;span class="subtitle"&gt;&lt;span class="subtitle"&gt;&lt;a href="https://online.ucpress.edu/fmh/article-abstract/5/4/68/109531/The-Fourth-WallWomen-of-Vision-Revisited?redirectedFrom=fulltext"&gt;&lt;em&gt;Women of Vision&lt;/em&gt; Revisited&lt;/a&gt;," with &lt;/span&gt;&lt;/span&gt;&lt;a class="linked-name js-linked-name stats-author-info-trigger"&gt;Toni Adeyemi&lt;/a&gt;&lt;span class="al-author-delim"&gt; and &lt;/span&gt;Karina Hodoyán for the special issue I co-edited with Angela Aguayo, "&lt;a href="https://online.ucpress.edu/fmh/issue/5/4"&gt;Informed Historical Reveries,&lt;/a&gt;" for Feminist Media Histories 5:4, 2019.&lt;span class="al-author-delim"&gt;&lt;/span&gt;</text>
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                <text>The Potluck and the Passion: To celebrate their one year anniversary, a black lesbian couple have a potluck dinner party. Each partner invites several of her own friends, hoping variety will make for a stimulating evening. (&lt;a href="https://mubi.com/films/the-potluck-and-the-passion" target="_blank" rel="noreferrer noopener"&gt;Mubi&lt;/a&gt;)&lt;br /&gt;&lt;br /&gt;&lt;span&gt;The Body Beautiful: This bold, stunning exploration of a white mother who undergoes a radical mastectomy and her Black daughter who embarks on a modeling career reveals the profound effects of body image and the strain of racial and sexual identity on their charged, intensely loving bond. (&lt;a href="https://www.criterionchannel.com/the-body-beautiful" target="_blank" rel="noreferrer noopener"&gt;Criterion&lt;/a&gt;)&lt;/span&gt;</text>
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                <text>&lt;span&gt;Gift from filmmaker. I think I wrote a letter of evaluation for Elisabeth at one point and may have acquired many of her films for this reason. Many of our core interests align: feminism, reenactment, women's liberation. Elisabeth wrote an important contribution for the collection I co-edited with Jesse Lerner on fake documentaries, F is for Phony, about her own reenactment practice in her rich and complex film Shulie.&lt;br /&gt;&lt;/span&gt;</text>
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                <text>"Subrin's cross-texting Swallow portrays the artist as a young anorexic, bombarded by the contradictory messages of a malign culture. Personality disorders find their formal equivalents in a work that clouds the borders of the bio-pic, by shifting voices, legitimizing accounts, and skillful layerings of social history." -Steve Seid, Curator, Pacific Film Archives, Berkeley, CA "For Subrin, as the visual metaphor of silence or speechlessness—evidenced primarily by the repeated use of white-out on the body, text and image—gains prominence in Swallow, it becomes clear that the fragility of female identity in post-feminist America appears, in part, as a failure of language itself." -Tina Wasserman, New Art Examiner, Chicago from &lt;a href="https://elisabethsubrin.com/Swallow"&gt;elisabethsubrin.com&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Elisabeth Subrin’s Swallow, meanwhile, revolves around another kind of psychic and physical breakdown. Deftly blending found footage and self-shot material with spoken recollections of a childhood friend’s eating disorder, Subrin navigates the darker&lt;br /&gt;side of a Free to Be...You and Me upbringing: ‘It was 1975. There was no name for it, but I knew what she was talking about. - Films by Lincoln Center&lt;br /&gt;&lt;br /&gt;Elisabeth Subrin’s SWALLOW is based on accounts of eating disorders of her childhood friends and examines a dark aspect of the lives of today’s young women which may cause psychic and physical collapse.” - Viennale Film Festival</text>
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            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4014">
                <text>English</text>
              </elementText>
            </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>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="809">
        <name>comedy</name>
      </tag>
      <tag tagId="50">
        <name>feminist</name>
      </tag>
      <tag tagId="808">
        <name>one-woman show</name>
      </tag>
      <tag tagId="51">
        <name>performance</name>
      </tag>
      <tag tagId="47">
        <name>queer</name>
      </tag>
      <tag tagId="49">
        <name>racism</name>
      </tag>
      <tag tagId="48">
        <name>whiteness</name>
      </tag>
      <tag tagId="810">
        <name>Without You I'm Nothing</name>
      </tag>
      <tag tagId="61">
        <name>woman director</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
