By Emma Prichard, Northeast Historic Film After a typically grey and stormy March here in Maine, I’m ready for a little sunshine. So let’s break out the cocktails, brush up on our shuffleboard skills, and take a look the sea faring adventures of some of the women in Northeast Historic Film’s portion of the The Woman
On April 20, 2007, Chicago Film Archives Executive Director Nancy Watrous interviewed Millie Goldsholl, filmmaker and designer, at her home in Highland Park, Illinois. The following edited excerpts feature Millie describing her earliest work at the School of Design (now the IIT Institute of Design) in Chicago, where she studied under Hungarian-born artist László Moholy-Nagy.
By Emma Prichard, Northeast Historic Film A caribou is shot, falls, and joins a dozen others ready to be cut up and hauled by snowmobile back to town. This scene is repeated several times throughout the Joan Cartledge Collection. Joan Cartledge was a missionary in Newfoundland and Labrador from 1972 to 1984. At a
By Olivia Babler Since joining Chicago Film Archives as a transfer technician last October, one of my main long-term projects has consisted of inspecting, stabilizing and digitizing films from the Mort & Millie Goldsholl Collection as part of the “Woman Behind the Camera” project. While the couple are best known for their mid-century graphic design
Archives grow from what elders preserve and death releases, and winters hit the aged hard. It’s a plain truth no one can celebrate. This polar-vortex winter has been stringent, even in the south, and as 2017 turned into 2018 three women who appear in Lesbian Home Movie Project collections died — ally Barbara Ann Davis
by Emma Prichard Northeast Historic Film Crossing into New Hampshire, a sharp-peaked mountain rears up out of the horizon. ‘Huh, that looks familiar,’ I think to myself as I try to calculate the distance to the next Dunkin Donuts. Of course it looks familiar, it’s Mount Chocorua. I drive past it every time I head
By Justin Dean and Brian Belak One of our missions for the Woman Behind the Camera project is to digitize and make accessible online the film work of JoAnn Elam, but as can be the case, that has sometimes turned out easier said than done. Recently, we found a curious reel labeled “Filmabuse (Original)” that
Sometimes when we dig deeply into a collection we find out that the information that we had was not correct. For this project NHF had to identify which of our collections had been filmed by women, which was more difficult than it seemed. I learned this the hard way with one of the first collections
By Aurore Spiers, University of Chicago The JoAnn Elam Collection (1967-1990) at Chicago Film Archives (CFA) consists of approximately 735 film, video, audio elements and some paper material, which JoAnn Elam’s husband Joe Hendrix donated in 2011. In addition to Elam’s best known films, such as Rape (1975) and Lie Back and Enjoy It (1982),
Wild and prolific painter, sculptor, and filmmaker Jere Van Syoc transferred from Moody Bible College to the School of the Art Institute of Chicago in 1962 with the modest intention of becoming a high school art teacher. In her earliest days at SAIC, her roommate the fiber artist Leora Stewart recalls, she still went to