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Fellows 2010-11

FSC-Radcliffe Fellows

Irene Lusztig

David Redmon

FSC-Harvard Fellows

Felicity Aulino

Edgar Barroso

Joe Bender

Dominique Cabrera

Aryo Danusiri

Sharon Harper

John Hulsey

Ruth Lingford

Robb Moss

Verena Paravel

Maxim Pozdorovkin

Amie Siegel

Stephanie Spray

J.P. Sniadecki

McMillan-Stewart Fellow

Rabah Ameur-Zaïmeche


The McMillan-Stewart Fellowship in Distinguished Filmmaking
Rabah Ameur-Zaïmeche was born in Algeria in 1966 and moved to France in 1968, where he grew up in Montfermeil, on the outskirts of Paris. After studying sociology, in 1999 he founded his own production company, Sarrazinc Productions. In 2002, he made his first feature film, Wesh Wesh, qu'est-ce qui passe? (2002), which won many prizes including the Louis Delluc Award and Berlin’s Wolfgang Staudte Award. With Bled Number One, he won the Young Audiences Prize at Cannes 2006 and a Special Mention Award at the 24th Torino Film Festival. Dernier marquis premiered at Cannes in 2008. He is currently working on a new film.

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Felicity Aulino is a graduate student in the Media Anthropology program. Her project, entitled Gaam, recorded during her fieldwork in Thailand, explores the daily caregiving routine of two sisters caring for their elderly mother, and the profound elements of this ordinary experience.

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The Nahua operetta Zazanilli (which in Nahuatl means both "story" and "enigma") is a collaboration between composer Edgar Barroso, poet Juan de Dios Vázquez, filmmaker Aryo Danusiri, and designer Yen-Ting Cho. It will portray the mesmerizing Nahua myth of a young girl who becomes a starfish. The goal is to represent the unrepresented, to provide though structured musical figuration an understanding of invisible forces and principles that regulated not only the myths, riddles and proverbs of ancient Aztecs but also the pulse of contemporary indigenous politics.

Edgar Barroso is a graduate student in Music Composition at Harvard University. An interdisciplinary approach has become the core of his work. His education includes a Master in Digital Arts, a Postgraduate Diploma in Composition and Contemporary Technologies and a Bachelor in Music Composition. He has been granted by the Mexican National Fund for Art and Culture with a 2010-2011 “Programa Jóvenes Creadores” Award. Aryo Danusiri is a visual artist and Ph.D. Candidate in the Media Anthropology program, with a secondary field in Film and Visual Studies. Yen-Ting Cho received a BS in architecture from National Cheng Kung University in his native Taiwan, and a Master of Design Study in technology and design from Harvard Graduate School of Design. His main interests are architecture design, interaction design, and animation. Juan de Dios Vázquez received his PhD in Spanish in the Department of Romance Languages and Literatures at Harvard, and is currently teaching at NYU.

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French filmmaker Dominique Cabrera was born in Algeria and studied literature and cinema in Paris. She has made five feature-length movies: On the Other Shore (1995), Tomorrow and Tomorrow (1997), Nadia and the Hippos (2000), The Milk of Human Kindness (2001), A Wonderful Spell (2004), and When the City Bites (2009), as well as numerous shorter films and documentaries. Cabrera’s films have won several awards and have shown at festivals worldwide including Cannes, Rotterdam, Berlin, Locarno, New York, San Francisco, Florence, Toronto, London, Vienna, Cairo, and Hong Kong. She has taught at the French cinema school La Fémis, written two books, and acted in four movies. In her films, Cabrera is known for mixing documentary and fiction, exploring intimate human psychology and feelings and the subject of politics. While at the Film Study Center, she is editing her second film diary, Oh Happy Days!

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An Assistant Professor at VES, Sharon Harper received an MFA in photography and related media from the School of Visual Art in New York in 1997 and a BA from Middlebury College in literary studies. She works with photography and video to record a subjective experience of landscape, exploring ways that technology mediates our relationship with the natural world and generates perceptual experiences. Her current project is Crash which explores the intersection of photography and video—the place at which motion approaches the still image and the place within still photography at which stationary time break down.

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A graduate student in VES, John Hulsey's project 72 Hours is an audiovisual installation that uses projected images and sound to evoke the lived experience of three families facing foreclosure. Working closely with Boston-area tenants' rights group City Life/Vida Urbana, the participants and collaborators in 72 Hours aim to make public, visible, and felt the struggles of those undergoing foreclosure. By temporarily occupying apartment buildings, foreclosed houses, or vacant bank-owned properties and transforming them into sites for multimedia projection, 72 Hours makes visible the absences and traces left behind when residents are evicted from their homes. See a full description and press on John Hulsey's website

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Ruth Lingford has been making animated films since 1990. Her films have won several Festival awards all over the world. Since 2006, she has been Professor of the Practice of Animation at Harvard. Her current project is Little Deaths, an 11 minute animated film based on recorded interviews about the experience of orgasm.

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Film Study Center–Radcliffe Fellow
Irene Lusztig was born in England to Romanian parents, grew up in Boston and has lived in France, Italy, Romania, China, and Russia. She received her BA in filmmaking and Chinese studies from Harvard and completed her MFA in film and video at the Milton Avery Graduate School of Fine Arts at Bard College. Her work has won film festival awards and has been screened around the world, including at MoMA, Museum of Fine Arts Boston, Anthology Film Archives, Pacific Film Archive, IDFA, and on television in the US, Europe, and Taiwan. She has also been the recipient of grants from the Massachusetts Foundation for the Humanities, Massachusetts Cultural Council, LEF Foundation, and New York State Council for the Arts. She has worked as a freelance documentary editor and taught at Harvard, SUNY Purchase, and Temple University. She currently teaches filmmaking at UC Santa Cruz. Her current project is The Motherhood Archives.

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Robb Moss and Peter Galison together made Secrecy, which premiered at Sundance in 2008. Their current collaborative project, Nuclear Underground, is about radioactive plutonium waste that will remain deadly for tens of thousands of years, and our desperate attempt to seal that waste and warn a far-distant future.

Robb Moss's film, The Same River Twice, premiered at the 2003 Sundance Film Festival, was nominated for a 2004 Independent Spirit award, and played theatrically in more than eighty cities across North America. Other films have shown at the Telluride Film Festival, screened at Lincoln Center and the Museum of Modern Art in New York City, and at numerous venues around the world, including in Amsterdam, Paris, Munich, Sydney, Ankara, and Rio de Janeiro. As a cinematographer he has shot films in Ethiopia, Hungary, Japan, Liberia, Mexico, Turkey on such subjects as famine, genocide and the large-scale structure of the universe many of these pieces were shown on Public Television. He was on the 2004 documentary jury at the Sundance Film Festival and has thrice served as a creative advisor for the Sundance Institute documentary labs. He is the past board chair and president of the Association of Independent Video and Filmmakers and has taught filmmaking at Harvard University for the past twenty years. Collaborator Peter Galison is Pellegrino University Professor of the History of Science and of Physics at Harvard University. He has worked extensively with de-classified material in his studies of physics in the Cold War. His film on the moral-political debates over the H-bomb, "Ultimate Weapon: The H-bomb Dilemma" (44 minutes, with Pamela Hogan) has been shown frequently on the History Channel and is widely used in courses and seminars in the United States and abroad.

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Véréna Paravel as taught ethnography in France, where she received her PhD. She started making films in 2008 at the Sensory Ethnography Lab. There, she produced 7 Queens, an (anti)-ethnographic video exploring evanescent forms of intimacy. Her recent work Re:Visit Series consists of 5 short pieces (shot through Skype) that explore media, intimate relations at a distance and space. J.P. Sniadecki is completing his doctorate degree in the Media Anthropology program. His previous films Demolition (Chaiqian) and Songhua, shot in China, have drawn international attention. Demolition was included in lthe 2008 Viennale and won the 2009 Joris Ivens Award at Paris’ prestigious documentary film festival Cinéma du réel. Their current film project with the Film Study Center, Foreign Parts, is a portrait, over the course of seasons, of a New York City’s junkyard as the threat of demolition looms.

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Maxim Pozdorovkin is a graduate student in the Department of Slavic Languages and Literatures at Harvard University. Joe Bender is graduate student in the Department of Romance Languages and Literatures. Their first film, Capital, is a modern day city symphony that tells the story of Astana, Kazakhstan’s new capital, during its ten-year anniversary. Other recent projects by Pozdorovkin include Soviet Americanism (in collaboration with Ana Olenina), a 30-minute audio-visual essay to supplement the DVD of Miss Mend, a 1926 Soviet adventure serial to be released by Flicker Alley. Bender's recent work includes the shorts Not on Route 6 and Each and Every Thursday. Their current project is 100 Million AKs: a feature length documentary about the history of the AK-47, the world’s most popular gun, and the meaning of very large numbers.

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Film Study Center–Radcliffe Fellow
David Redmon holds degrees from TCU (BA), Texas Woman’s University (MA), and The State University of New York at Albany (PhD). He has taught at Texas Christian University, St. Joseph’s College, Pratt Institute, Emerson College, Gettysburg College, Southwestern University, and Texas Woman’s University.

Redmon and his partner Ashley Sabin directed Mardi Gras: Made in China, Kamp Katrina, Intimidad, and Invisible Girlfriend. Their films have played in Sundance, IDFA, SXSW, and numerous international festivals. Redmon and Sabin’s current project is Noah’s Arc (working title), which follows a complex supply chain between Siberia, Japan, and the U.S. within the modeling industry. The story is told through the eyes of the scouts, agencies and a 13 year-old model. See his full bio on the Radcliffe fellowship page.

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Amie Siegel was born in 1974 in Chicago, Illinois and currently lives and works in New York and Cambridge, MA. She has been a guest of the DAAD Berliner-Künstler programm and a recipient of the John Simon Guggenheim Memorial Fellowship. She received her BA from Bard College (1996) and MFA from The School of the Art Institute of Chicago (1999). Recent exhibitions include "The Talent Show", Walker Art Center, MN; “The Russian Linesman", The Hayward Gallery, London; 2008 Whitney Biennial, Whitney Museum of American Art, New York; “Forum Expanded”, KW Institute for Contemporary Art, Berlin. Her cinema films have been included in the New York Film Festival, Berlin International Film Festival and have screened at The Museum of Modern Art, New York; Harvard Film Archive; Pacific Film Archive, Berkeley; BFI Southbank; Andy Warhol Museum, Museum of Fine Arts Boston; Frankfurt Film Museum and Film Forum in New York. Siegel is Assistant Professor of Visual and Environmental Studies at Harvard University, and was the Fulton Fellow in Non-Fiction Filmmaking at the Film Study Center in 2007-2008.

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Stephanie Spray is a filmmaker and doctoral candidate in social anthropology at Harvard University. She received her B.A. in the study of world religions at Smith College and a master’s degree at Harvard Divinity School. She has been engaged in various fieldwork-based projects in Nepal since 1999. In 2001 she was the recipient of a Fulbright-IIE grant, which she used to begin fieldwork with the Gāine, a caste of itinerant musicians. Two such musicians were the subjects of an observational digital video, Kāle and Kāle, produced in 2007 with the support of the Sensory Ethnography Laboratory. She continued her video work with the Gāine in Monsoon-Reflections (2008) and As Long as There’s Breath (2009), experimental documentaries depicting aspects of the lifeworld of one such Gāine family. In 2009 Stephanie began work on Blue Sky, White River, a sound piece made from Nepali radio and field recordings. She is currently in Nepal conducting dissertation research with the Gāine as an SSRC-IDRF fellow and Fulbright-Hays DDRA grant recipient and is working on a related six-part video and phonographic project entitled Reflections on the Seasons.

Reflections on the Seasons is composed of a series of inter-related, yet independent, video and sound works thematically linked to the cycles of the seasons and how seasonal routines of labor in turn connect people to the land. The works are conceptually bound and structured by the epic poem, “Reflections on the Season” (ritu vicara), by the Nepali poet Lekhnath Paudyal (1885-1966). Divided into six cantos, corresponding to the six seasons of the Nepali calendar, the poem is an elegant and sensuous panegyric of the natural world. Stephanie’s videos for Reflections on the Seasons will attend to more concretely located cyclic existence with an intentionally diverse spectrum of Nepali places and individuals.

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