Thursday, September 30, 2010

Thursday, September 09, 2010


"Homes for the Homies"

produced by Gloria Morán
13 minutes, 2009

Homes for the Homies, is both the title of this film and the title of the shadow box art collection by artist Cynthia de Losa of San Francisco. This 13-minute documentary explores the way Chicano pop culture figurines are utilized in an artistic and political sense.
Homes for the Homies examines the artistic, social, and political meanings of De Losa’s artwork at the center of a community undergoing displacement through gentrification and where public and private spaces are transforming rapidly, highlighting spaces and places that have undergone dramatic demographic change.
Homies are one-inch figurines molded to represent the eclectic mix of personalities of West Coast Chicano communities. Created by artist Dave Gonzalez, Homies have gone from corner store quarter machine fare to sought-after commodities with collectors engaging in bidding wars. Cynthia De Losa, a 3rd generation native of San Francisco discovered Homies down the street from her work at Precita Eyes Mural Center. Ecstatic, De Losa has been using Homies for shadow box art placing Homies in various iconic locations of San Francisco, creating lively street scenes of a vibrant Latino community.
Calling upon her own memories of growing up as a Pachuca in The Mission District of San Francisco, De Losa creates a scene where these individual figurines create community and finally have a home while simultaneously re-claiming spaces of San Francisco that have since been gentrified during De Losa’s lifetime.
Gloria Morán is a filmmaker based out of San Francisco and currently completing her Master’s degree in Social Documentation from UC Santa Cruz. Merging theories of Ethnic and Cultural Studies, Gloria’s films seek to highlight Chicana/o and Latina/o art and practice. Her forthcoming film, The Unique Ladies examines gender and location as she follows an all-women’s lowrider car club in San Diego. Prior to her arrival at UCSC, Gloria worked at the youth media lab Conscious Youth Media Crew (CYMC) where she assisted a student directed film, From Low to Show, which explored lowriding and community in San Francisco’s Mission District.

Medellin, ¿Cómo te convierto en un objeto?

Medellin, how can I make you into an object?
Colombia and Mexico, HDV Video, 10min, 2009

Composed in the documentary tradition of symphony of a city, Medellin, como te econvierto en un objeto? /Medellin, how can I turn you into an object? includes panoramic views of the city from the sublimated perspective of “planchas or terrazas”--flat cement rooftops, lookouts and terraces--throughout the city and a score that determines the rhythm and complex relationships between the images, voice over and ambient sound. The sound design captures the undertones of the city emanating from moving vehicles, windows, and bits and pieces of conversations that reveal the general preoccupations of the people. Medellin, como te econvierto en un objeto? /Medellin, how can I turn you into an object? is a journey through neighborhoods that I traveled when I was a child, a farewell written in image.
Medellin, como te econvierto en un objeto? /Medellin, how can I turn you into an object? is a lyrical documentary, love poem, and farewell to the city of youth. The final piece of Triptych Terrazas, the video blends the contrasting landscapes of the two cities into an impressionistic rendition that fuses Medellín, Colombia with Tijuana, Mexico as cultures that are interconnected and related by memory. It is the failed attempt of making the city into an elusive lover and, equally elusive, art object.
Medellín, how can I turn you into an object?/Medellin, how can I turn you into an object? reveals the mirroring effect that contrasting hills create --those to east and those to the west, to the north and to the south-- to form a marking topography of social differences in architecture, class, and the function of the body in the every day life experience of a city. Slowly descending from the slums in the hills to the middle class neighborhoods in the valley and the crowded and clouded by smog downtown, I portray the process by which a city is a palpitating organism embedded in the characters that inhabit it and in those who, like me, have left it. I depict Medellín through the foggy lens and defused color of my memory. Tijuana appears as an elusive but liberating lover who challenges old perceptions and offers a life of new dimensions. The video is the failed attempt of making the city into an elusive love and, equally elusive, art object. The voice over is the long awaited welcoming of maturity, it is a text that representing distance, celebrates the death of the city of childhood, in a memoir of a city suspended in a cloud of truncated memories.
I superimposes memory and chance, theatricality and documentary in a personal representation of the journey of becoming, not concerned with romanticizing migration, or with Medellín’s and Tijuana’s sordid histories. The work combines text, sound and image in the recurrence of time that the medium of video exhibits, to provoke a critical dialogue about the nature of migration.

"The Oak Park Story"

by Valerie Soe and Russell Jeung
documentary, 22 min. © 2010

The Oak Park Story recounts the struggles of three very different families who find themselves together in a run-down slum in Oakland, CA. Khlot Ry arrived first from Cambodia, where she and her granddaughters had fled forced labor camps and invading Vietnamese soldiers. A few years later, Felix and Hortensia Jimenez brought their family across the Mexican-U.S. border without documents, where Felix struggled to earn a living as a day laborer. At the same time, Dan Schmitz left the comforts of his white, middle class upbringing in the suburbs and moved into the apartment directly across from the Jimenez family.
Together, these three households encountered daily life in America’s underclass. Parents raised their children amidst drug dealing, gang violence and prostitution right in their parking lot. Yet their worst problem was their Stanford-educated landlord, who raised rents even when El Nino rains flooded their units. Interviews, home video footage, and photographs from the tenants depict their daily lives in the 1980s and 1990s.
Facing unsanitary housing conditions that led to the hospitalization of several children, 44 households of Oak Park banded together to sue and eventually won a landmark settlement against their landlord. Despite the victory, this too brought about some surprising, unintended consequences.
The Oak Park Story concludes nearly ten years after winning the lawsuit. What have the children at Oak Park learned from their parents’ organizing? How did the lawsuit impact the lives of the undocumented workers, the refugee families, and the other working poor living there? What ongoing social conditions do they continue to face?

Filmmakers’ bios
Valerie Soe
Valerie Soe is a visual artist, filmmaker, and writer from San Francisco whose award-winning productions include Mixed Blood; Picturing Oriental Girls: A (Re) Educational Videotape, (Best Bay Area Short, Golden Gate Awards, San Francisco International Film Festival) and "ALL ORIENTALS LOOK THE SAME," (Best Foreign Video, Festival Internazionale Cinema Giovani; First Place, Experimental Category, Visions of U.S. Festival). Her work has exhibited at the Museum of Modern Art in New York City, the AFI National Video Festival, the World Wide Video Festival in The Hague, and on KQED-TV, KCET-TV and Channel L Cable Manhattan, among many others. Her work looks at identity, culture, mass media, and activism, primarily within the Asian American community. She is on faculty at San Francisco State University's Asian American Studies Department. She is the co-producer, director, writer and editor of the film.
Russell Jeung, co-producer, co-writer
Dr. Russell Jeung is an associate professor of Asian American Studies at San Francisco State University. He is a sociologist whose research focuses on faith-based communities of color and he is currently on the board of the Chinese Historical Society of America. An ethnographer, he has written a book and several articles on Asian American religions and social justice. He lived at Oak Park Apartments for over a decade, and helped to organize 200 Cambodian and Latino tenants in their landmark lawsuit. He is the co-producer and co-writer of the film.

Produced and directed by Valerie Soe and Russell Jeung
Associate Producer: Grande Lum
Written by Valerie Soe, Russell Jeung, Alex Vargas
Editor: Valerie Soe
Cinematography: Michael Chin
Sound recordist: Curtis Choy
Composer & music supervisor: Camilo Landau
Music : Camilo Landau, Fuga!, Carne Cruda, praCh, Goh Nakamura
The Oak Park Story is a presentation of the Center for Asian American Media with funding provided by the Corporation for Public Broadcasting Funded in part by The Creative Work Fund, a program of the Walter and Elise Haas Fund supported by The William and Flora Hewlett Foundation and The James Irvine Foundation
Additional support: Bay Area Media Coalition Mediamaker Award Program, San Francisco Film Society Filmhouse Residencies, San Francisco Film Commission
San Francisco State University, Asian American Studies Department.

"Sin País"

produced by Theo Rigby (20 minutes, 2010)

Sin País (Without Country) attempts to get beyond the partisan politics and mainstream media's ‘talking point’ approach to immigration issues by exploring one family's complex and emotional journey involving deportation. In 1992, Sam and Elida Mejia left Guatemala during a violent civil war and brought their one-year old son, Gilbert, to California. The Mejia’s settled in the Bay Area, and for the past 17 years they have worked multiple jobs to support their family, paid their taxes, and saved enough to buy a home. They had two more children, Helen and Dulce, who are both U.S. citizens.
Two years ago, immigration agents stormed the Mejia's house looking for someone who didn’t live there. Sam, Elida, and Gilbert were all undocumented and became deeply entangled in the U.S. immigration system.
Sin País begins two weeks before Sam and Elida's scheduled deportation date. After a passionate fight to keep the family together, Sam and Elida are deported and take Dulce with them back to Guatemala. With intimate access and striking imagery, Sin País explores the complexities of the Mejia's new reality of a separated family--parents without their children, and children without their parents.

"The Apollos" A look back at an effective student campaign to gain recognition for MLK Day. (6 min)
"The Midnight Hour" (7 min) A poetic search for hope during one's darkest moments.
"Momo" (5 min) In a faraway place, an intimate look into the daily routine of family of street vendors.

Comeback to our MCCLA website HERE

Wednesday, May 26, 2010

ViedoFest 2010 - CALL - Guidelines - Postcard

All submissions must be postmarked by August 7, 2010
MCCLA, 2868 Mission Street, San Francisco CA 94110

ENTRY FORM will be available in JUNE 2nd at

“The map is not the territory,” said the philosopher. However, maps carry the key to understanding unknown places, real and imagined. This year VideoFest invites travellers, explorers, migrants and wayfarers of all stripes to submit short videos that explore the lesser known aspects of the everyday. El Pulgarcito, Atzlan, la tierra de Bolivar, de Morazan, la Mission, el barrio, la pachanga. Whether from your front porch, down the street. From Mission to the Tenderloin. AZ, LA, BA, el DF and everything in between. We’re searching video that helps us discern the ground we walk upon and the spaces—material and spiritual—where life happens.

The MCCLA seeks video shorts 20 minutes and under. Videos should have been finished between June 1, 2008 to present. All genres accepted: short docs, narratives, poetic/experimental, drama, imaginary. Priority will go to videos with themes pertinent to the Latino/Raza community.

Submissions will be divided into two categories: Youth (19-and-under) and Adult (20-and-up).

Selected submissions will be curated into tw o programs that will precede short-feature videos (and director’s talks) on Oct. 15th and 16th, 2010.

Best youth video, $250; Best of VideoFest: $750.

Friday, August 21, 2009

VideoFest 2009 Labor and Dreams
Official Selection and Winners

Jury: Peter Bratt, Ann Kaneko, Graham Leggat

Best Documentary & Best of the VideoFest 1st Place ($1000 award)

Dir. David Redmon and Ashley Sabin
USA – Columbia, MO / Mexico

Best Short Fiction and Best of the VideoFest 2nd place ($500 award)
Para Volar
Dir. Arturo Menéndez
Short Fiction
El Salvador

Best Youth Video ($300 award)

Escuadrón de Condones
Dir. Samantha Chevez
Youth/Short Fiction

Best Experimental

The Art of Loosing Things
Dir. Marília Albornoz
USA – New York

Honorable Mentions

Until the last drop: Tales from the battle for El Salvador’s water
Dir. Jason Wallach
USA – Santa Cruz / El Salvador

Dir. Rafael Flores
Short Fiction
USA – Daly City

Four Star Video Prize for Best SF Filmmaker (1 year subscription)

-Juried by Four Star Video-

Race to the Bottom
Dir. Jonathan King and Michael Hamm
USA – San Francisco

Official Selection

Dir. Erika Saca, Chiki Vásquez, Orlando Alvarez
El Salvador

Dir. Sue May
USA – New York

Flowers for San Lazaro
Dir. James Rauschman
USA – New York / Cuba

The Scraper Bike King
Dir. Rafael Flores
USA – Daly City

Guitar Holiday
Dir. Dennis Conway
USA – San Francisco

Sí se Puede
Dir. Noé Rivas
USA - San Francisco

Mi Futuro
Dir. David Ixbalan
USA - Seattle / Guatemala

La Huelga: The Struggle of the UFW
Dir. Alex Ivany
USA – Santa Cruz, CA

Nuestras Casas de Cartón
Dir. Shelley Cook-Contreras
USA - San Francisco

25th & Mission
Dir. Julie Mallozzi
USA – Berkeley

Solidarity Baby
Dir. Maya Chinchilla
USA – Oakland

Nuestra Dignidad
Dir. Kathy Vega-Muñoz
USA – St. Paul, MN

Wednesday, July 29, 2009

VideoFest 2009 TROPHIES

Carolina Stankiewich, Latin artist of the community of San Francisco
and winner of a Videofest award in VF 2005, was commissioned this year
to create the trophies for VIDEOFEST 2009 LABOR and DREAMS.
Each handmade trophy, is an exquisite piece of mosaic, with the
spiral that makes us travel between the dream, the illusion and daily

Carolina Stankiewich, artista latina de la comunidad de San Francisco y ganadora de un Videofest award en VF 2005, fue comisionada este año para la realización de los trofeos del VIDEOFEST 2009 LABOR & DREAMS. Cada trofeo hecho a mano, es una exquisita pieza de mosaico, con el espiral que nos hace viajar entre el sueño, la ilusion y el trabajo cotidiano.

Carolina Stankiewich
is a mosaic and video artist based in San Francisco, earning her degree in communication in her native Argentina. Since her 1997 arrival in San Francisco, she works in photography, video, mosaic and education. Carolina learned mosaic and stained glass techniques at Sharon Art Studio and holds a digital media teaching certificate from BAVC. She received an award for her short video "Flor" at the VideoFest 2005 and currently teaches a mosaic class at MCCLA. Some of her community mosaic projects are on exhibit at MCCLA and Monroe Elementary School in San Francisco.

Wednesday, May 13, 2009

VIDEOFEST `09 proudly announces the jurors for LABOR & DREAMS

PETER BRATT: Writer, director and producer of "La Mission", selected for the Gala Opening night premiere at the San Francisco International Film Festival 2009.

ANN KANEKO: Filmmaker and 1st prize winner VideoFest 2008 for her documentary "Against the Grain: An Artist's Survival Guide to Perú.

GRAHAM LEGGAT: Executive director of the San Francisco Film Society.

- - -EN ESPAÑOL- - -
Estamos orgullosos de anunciar a nuestro jurado para VIDEOFEST 2009: TRABAJO Y SUEÑOS

PETER BRATT: Escritor, director y productor de "La Mission", film seleccionado para la gala de apertura del 52 Festival Internacional de San Francisco.
ANN KANEKO: Cineasta especializada en documentales, ganadora del 1er premio del VIDEOFEST 2008 con su documental: "Against the Grain: An Artist's Survival Guide to Perú. ( "Contra los principios: una guia del artista sobreviviente del Perú"
GRAHAM LEGGAT: Director ejecutivo del San Francisco Film Society.

Tuesday, April 14, 2009


Videomakers must include an entry form for each
film submission.
DVD is the only preview format accepted.
MiniDV is the only exhibition format accepted.

You can download the entry form in ENGLISH HERE

Usted puede bajar el formulario de inscrición en ESPAÑOL AQUI

Early DEADLINE: MAY 22: General $20 / Youth $10
FInal DEADLINE: JULY 20: $30 for all
We do not accept videos arriving after July 20th or mail them back.

In August we will announce the VideoFest Official Selection