-
News Archive
- June 2022
- December 2021
- June 2021
- February 2021
- January 2021
- August 2020
- June 2020
- December 2019
- July 2019
- April 2019
- December 2018
- August 2018
- July 2018
- June 2018
- May 2018
- April 2018
- March 2018
- February 2018
- December 2017
- November 2017
- September 2017
- April 2017
- March 2017
- January 2017
- October 2016
- September 2016
- June 2016
- May 2016
- March 2016
- February 2016
- January 2016
- November 2015
- October 2015
- September 2015
- August 2015
- July 2015
- June 2015
- April 2015
- March 2015
- January 2015
- November 2014
- September 2014
- August 2014
- July 2014
- June 2014
- May 2014
- April 2014
- March 2014
- February 2014
- December 2013
- October 2013
- September 2013
- August 2013
- July 2013
- June 2013
- May 2013
- April 2013
- March 2013
- February 2013
- January 2013
- December 2012
- September 2012
- August 2012
- July 2012
- June 2012
- May 2012
- April 2012
- February 2012
- January 2012
- December 2011
- November 2011
- September 2011
- August 2011
Categorizing JoAnn Elam’s Films
The following is adapted from a short presentation given by Brian Belak, Collections Manager for Chicago Film Archives, at the Association of Moving Image Archivists’ Annual Conference in New Orleans, LA, on December 1, 2017. The panel “Woman Behind the Camera: Uncovering An Overlooked Perspective” also featured archivists from Northeast Historic Film, the Lesbian Home Movie Project, and the Center for Home Movies discussing their work on the project.
The JoAnn Elam Collection came to CFA in 2011 and consists of over 735 total elements, 516 of which are reels of 16mm, 8mm, and Super 8mm film, with the remainder videotapes, audiotapes, and several boxes of papers and fixed ephemera. Elam herself was a central figure in the Chicago experimental film scene of the 1970s and ‘80s. Her work is engaged with issues of feminism, depiction of women and women’s labor in media, and domestic and everyday spaces on film.
JoAnn Elam in “Boyers & Rhinos” (circa 1981)
2007 Interview with Millie Goldsholl
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. Millie passed away in 2012 at the age of 92.
Inspecting Millie Goldsholl’s Personal Reels
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 and advertising campaigns with Chicago-based Goldsholl Design & Film Associates, this grant has enabled CFA to spend more time focusing on the home movies and travel footage Millie Goldsholl (1920–2012) shot across the U.S., Japan, Africa and Europe in the 1950s, ‘60s and ‘70s.
Label taped to an otherwise untitled reel in the Mort & Millie Goldsholl Collection
Our first step towards making Millie’s films accessible was to complete inspection of the vast collection, which was donated to CFA in 2006 and 2010. Just last week, the CFA team wrapped up inspecting all 322 16mm films in our Goldsholl collection. In addition to completing condition reports and collecting metadata for each film, we also prepared the films for digitization by attaching fresh leader, measuring shrinkage, and testing the resilience of splices. While there was the occasional unpleasant surprise (Mold! Masking tape splices! Vinegar syndrome! Indecipherable handwriting!), we were delighted to find that almost all of Millie’s films have maintained their vibrant colors (thanks, Kodachrome!) and had not shrunken too much to be transferred on our Tobin telecine. As we inspected, we came across stunning footage and lovely family moments that we are excited to share in the coming months.
CFA’s New Year Awards and Grants Roundup
The turn of the year has been full of news for CFA! Here’s a round up of the grants and awards we have received recently, which we are extremely grateful for. Lots of reasons to keep checking back in with us to see what we’re up to!
CFA and Partners Awarded “Hidden Collections” CLIR Grant
Chicago Film Archives, Northeast Historic Film and the Lesbian Home Movie Project are extremely pleased to announce that we have been awarded a “Hidden Collections” grant, a granting program of the Council on Library and Information Resources (CLIR) that is generously funded by The Andrew W. Mellon Foundation. This collaborative project will unleash the work of 50 women filmmakers by supporting the digitization of their works. CFA is particularly happy to increase exposure to the work of Millie Goldsholl and JoAnn Elam, two twentieth-century filmmakers who are largely unknown.
Millie Goldsholl (1920-2012) headed up the filmmaking division of the renowned Chicago design firm, Goldsholl Design and Film Associates. She attended classes at Laszlo Moholy-Nagy’s new School of Design when the New Bauhaus movement was just taking hold in Chicago. Her work is playful, political and highly innovative. The Goldsholl’s studio gave space and guidance to new experimental filmmakers such as Larry Janiak, Byron Grush and Robert Stiegler, all who have archived their work at CFA. A large portion of the personal films made by Millie will be digitized and made accessible as a result of this grant.
JoAnn Elam (1949-2009) was a champion of the small gauge film, and an experimental filmmaker as well. She, too, was highly political and at an early age made two feminist films RAPE and LIE BACK AND ENJOY IT. Both still are in distribution. Her collection of films is vast and not easily decipherable. A closer look often reveals a home movie to be subtle commentary. Many of her films depict every day events with shadings of political overtones. So, it’s unclear what is and is not a “finished” film. JoAnn died before finishing her documentary named EVERYDAY PEOPLE. In the coming years, CFA hopes to take a stab at extending her themes into unexpected places.
CFA Acknowledged by the Ruth Page Center for the Arts
Chicago Film Archives, along with the Batsheva Dance Company, will receive the 2017 Ruth Page Award for significant contributions to the world of dance. This unexpected honor came to us just recently for CFA’s “dedication to preserving the legacy of Ruth Page.” With enduring trust from the Ruth Page Foundation and financial support from the Gaylord and Dorothy Donnelley Foundation and the National Endowment for the Arts, CFA spent three and a half years stabilizing, digitizing and describing this large collection of films and videos that dates from the early 1920s. Today hundreds of performances, rehearsals, home movies and dance films can be viewed streaming from CFA’s website.
This award will be presented Friday, January 27th at the Harris Theater for Music and Dance after the performance of Last Work by the Batsheva Dance Company. Hope to see you there!
CFA Goes International!
CFA is happy to announce we have been awarded a grant from the MacArthur Foundation International Connections Fund to produce an International Media Mixer!!
Chicago Film Archives (Chicago, IL) and Lab 80 film (Bergamo, Italy) will partner in this exciting project by exchanging digitized film footage from our respective repositories. Each organization will then commission two media artists (from our respective countries) to create new works using the partner’s footage (digitized, of course!). Upon completion of these four new silent video works (2 in Italy and 2 in the US), the partnering organizations will once again exchange the works so that two musicians/bands from the partnering country can score the new pieces.
Once completed, these four new media works will be screened in the Chicago area and in northern Italy with live accompaniment by the musicians who created the scores. Our Italian colleague, Karianne Fiorini, will be representing Lab 80 film to identify the Italian artists, curate the project, and coordinate the screenings on her side of the ocean. CFA will be doing the same in Chicago.
The goal of this project is twofold. It will allow archivists and filmmakers to explore the process and outcomes of creating culturally hybrid works of media art with archival footage. It’s a sort-of cross cultural “call and response” exercise, mixing and layering artistic audio/visual expressions that emanate from artists of two different cultures. It will also bring definition and a sense of scope to the international practice of media conservation, combining the practices of art and archiving to produce new artistic works.
Background
This project is based upon an artistic collaboration that Chicago Film Archives has sponsored locally over the last five years. CFA provides footage to three Chicago media artists to create original video works. These videos are then handed over to three local musicians, bands or audio artists who each score one of the new works. These three new fully-realized media works are then premiered at CFA’s annual Media Mixer at the Hideout. This MacArthur proposal will add an international component to the mix.