Spring 2017 AMI Faculty Filmmaker Spotlight screening --
A Program of Short Films by AMI Instructors:

-- Preceded by a reception at 6:00pm; Q&A to follow!

Works to be screened (in alphabetical order, by filmmaker's name):

-- Stroma Island
(Alex Cunningham, 2015, 8 min, Color, Digital)

No one knows where and when the ancient stone structures on Stroma Island are from, while a Norse presence around 900 years ago is recorded in the epic Orkneyinga Saga. The stroma connects to a muscle which contracts the pupil in a circular motion, and a set of dilator muscles pull the iris radially in folds to enlarge the pupil.

-- Journey to the Sea
(Josh Gibson, 2015, 14 min, in English, B&W and Color, Digital)

In Journey to the Sea, an elderly woman floats down a river of elusive memories and fragmented artifacts from cinema‘s history, straining to recall the places that she has been. Passing through childhood creeks and riverside views of great cities, she also struggles to remember the impulse of travel itself. Her fading and fluid memories of touristic desire merge into an unreliable account of a great river teeming with duck-billed platypuses, disappearing Native Americans, fellow tourists and intimate hair washes.

-- Chair
(directed by Ellen Hemphill, videography & editing by Jim Haverkamp, 10 min, B&W, Digital)

A playful exploration of what happens to several people and a very large chair over the course of a typical day.

-- He Begins, She Returns
(Anna Kipervaser, 2015, 2:12 min, Color, Digital)

It all ends in tears. And then.

-- Exploring with the Time-Lapse Camera
(Lisa McCarty, 2016, 13 min, Silent, B&W and Color, Digital)

A micro and macro exploration of time-lapse photography from 1927-2015 composed with footage from the Internet Archive and YouTube.

-- BALIK EKMEK
(Jason Oppliger, 2015, 8 min, Color, Digital)

A micro and macro exploration of time-lapse photography from 1927-2015 composed with footage from the Internet Archive and YouTube.

Cost: Free and open to the public.

Sponsors: The Program in Arts of the Moving Image (AMI), with support from the Center for Documentary Studies (CDS).