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Fellows 2013-14

FSC-Radcliffe Fellows

T. Marie Dudman


FSC-Harvard Fellows

Cynthia Browne

Philip Cartelli

Aryo Danusiri

Alex Fattal

Andrew Littlejohn

Heidi Matthews

Ross McElwee

Finnian Moore Gerety

George Olken

Joana Pimenta

Stephanie Spray

Maria Stalford

Maria Stenzel

Pacho Velez

Julia Yezbick

Dilan Yildirim


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Cynthia Browne is a graduate student in social anthropology, with a secondary field in critical media practice. Her project, Ginkgo Biloba, is a cinematic portrait of an older woman artist living in Werden, Germany.

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Philip Cartelli is a PhD candidate in social anthropology with a secondary field in critical media practice. His current project, Promenade, parallels his dissertation research on the changing uses and significations of a public space on the Marseille waterfront. Treading the boundary between nonfiction film and video installation, Promenade is at once an exploration of a particular place and its denizens as well as an interrogation of cinematic time and space.

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Aryo Danusiri is a graduate student in anthropology, with a secondary field in critical media practice. His project, Sufi Bikers and Arab Saints, is a series of video and sound works portraying the ambiguous processes of a new urban Islamic youth movement in contemporary Jakarta in proffering a peaceful face of Islam.

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T. Marie Dudman is a transdisciplinary artist and an assistant professor in the animation program at the Massachusetts College of Art and Design. Her recent works Slave Ship and Water Lilies extend her long-term interest in the intersection of film, painting, and animation.

A "time-based pixel painting" is a moving digital painting created through a unique process Dudman developed that works with the intrinsic properties of a pixel. She aims to further the process by incorporating video and elements of sound, thereby creating a hybrid form of observational documentary and time-based pixel painting. While a fellow at Radcliffe, Dudman is completing the final work in a trilogy of time-based pixel paintings that already include works inspired by J.M.W. Turner's painting The Slave Ship and Claude Monet's panoramic Nymphéas paintings. The final work in this trilogy is a remaking, through a feminist lens, of Édouard Manet's scandalous 1863 painting Olympia.

Dudman exhibits under the name T. Marie. She received her BFA in film, animation, and video at the Rhode Island School of Design and her MFA in film and video at the Milton Avery Graduate School of the Arts at Bard College. Her works have been screened at the International Film Festival Rotterdam, the New York Film Festival, the Toronto International Film Festival, and Yebisu International Festival of Art & Alternative Visions, among others. In 2007, Dudman was selected as "best new young artist in the US" by the Hudson Valley Center for Contemporary Arts.

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Alex Fattal is a doctoral candidate in social anthropology and trickster. In his current project he converts the payload of a truck into a giant pinhole camera and records the testimonials and dreams of former rebels from the Revolutionary Armed Forces of Colombia (FARC) as the truck moves through mnemonic urban and rural landscapes. The short film is provisionally titled Sumapaz. Alex's previous projects include Trees Tropiques and Disparando Cámaras para la Paz.

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Andrew Littlejohn is a filmmaker, phonographer and doctoral candidate in social anthropology, with a secondary field in critical media practice. His current projects include Umi, an experimental non-fiction video project about the sea, the body, and spectralization in Northeast Japan; The Visible Reminder of Invisible Light, a 16mm film made from soil, radiation, and emulsion; and Iriya, a phonographic exploration of the ecology of a Japanese coastal village.

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Heidi Matthews is a doctoral (SJD) candidate at Harvard Law School. Her research focuses on international law, specifically at the intersection of criminal law, the law of war, and human rights law. Her dissertation undertakes a genealogy of the concept of international criminality, and seeks to theorize international criminal law from the point of view of the political. Her project at the FSC is tentatively entitled Envisioning Ambivalence: Sexual Violence in Berlin, 1945. Through interviews with seven women, it examines the social meaning of mass sexual violence perpetrated by Soviet forces against German women during the fall of the Third Reich. Heidi has experience in domestic criminal defense, and has worked for the Appeals Chamber of the Special Court for Sierra Leone, and the Office of the Prosecutor at the Special Tribunal for Lebanon.

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Ross McElwee has made nine feature-length documentaries as well as a number of shorter films. Sherman's March won Best Documentary at the Sundance Film Festival. Time Indefinite and Six O'Clock News won a number of festival awards before being distributed theatrically throughout the United States. McElwee's films have been included in the festivals of Cannes, New York, Berlin, Toronto, London, Vienna, Rotterdam, Florence, and Sydney. McElwee has received fellowships and grants from the Guggenheim Foundation, the Rockefeller Foundation, the American Film Institute, the LEF Foundation, and the National Endowment for the Arts. Sherman's March was also chosen for preservation by the Library of Congress National Film Registry in 2000 as a "historically significant American motion picture." Bright Leaves premiered at the 2003 Cannes Film Festival's Directors' Fortnight before being distributed theatrically in Europe and the United States. Bright Leaves was nominated for Best Documentary of 2004 by both the Director's Guild of America and the Writer's Guild of America. In 2005, complete retrospectives of McElwee's films were presented at the Museum of Modern Art in New York. McElwee received the Full Frame Documentary Film Festival's Career Award in 2007. McElwee's In Paraguay premiered at the Venice Film Festival in 2008, and he returned to Venice in 2011 to premiere his latest film, Photographic Memory.

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Finnian Moore Gerety is a doctoral candidate in the department of south asian studies. His main research interest is the interplay between text and performance in historical and contemporary Hindu traditions. His current film project charts the transformations in the culture of the Chakyars, a caste of actors and storytellers from central Kerala. Their traditional vocation has been to enact stories from the Indian epics inside Hindu temples; in recent years, their art has found new life and a new audience in a very different context: high school youth competitions.

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George Olken is a teaching assistant in VES. His project Daniel Wessius is a movie about Frederick Wiseman's films Public Housing and Belfast, Maine, and about David Wessels, a farmer who lives outside of Belfast, Maine.

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Joana Pimenta is a graduate student in film and visual studies and critical media practice at Harvard University. She works in 16mm film, photography and video installation. She completed her undergraduate education in the film departments at the New University of Lisbon and the Université Paris 8 UFR Arts, and has since worked and taught in Lisbon, Cambridge and Amsterdam. She is currently a fellow at the Film Study Center at Harvard, where she is developing the project Grande Hotel (working title).

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Stephanie Spray is a filmmaker and PhD candidate in anthropology at Harvard University. She has produced many works in the Sensory Ethnography Laboratory, including MANAKAMANA (2013, co-directed with Pacho Velez), As Long As There's Breath (2010), Monsoon-Reflections (2008) and Kāle and Kāle (2007). Her current FSC project Snow River will convey, in video and sound, how climate change is altering traditional practices and attitudes toward the land, and life more generally, in the Nepal Himalayas.

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Maria Stalford is a doctoral student in anthropology, with a secondary field in critical media practice. Her two projects are To Here or to There and To Know the Hour. To Here or to There is about caregiving and coping with cancer in Vietnam. To Know the Hour is about ritual and community life in a lay-led Buddhist temple in Boston.

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Maria Stenzel is a freelance photojournalist who has covered the environment, science, and culture for National Geographic Magazine since 1991. Among other subjects, she has photographed the pollination system of migratory beekeepers in the United States; challenges facing indigenous societies in Siberia, Borneo, Kenya, Bolivia and Mexico; water issues in Las Vegas; illegal logging in the Peruvian Amazon; Patagonia's ice fields; Canadian explorer David Thompson; and the poet Walt Whitman. Since 1995 Maria has regularly joined scientists on expeditions to Antarctica, photographing their studies of sea ice; melting ice shelves; the marine food chain from krill to humpback whales; and geology. Her coverage of the South Sandwich Islands, home to the largest penguin colony on the planet, won awards from World Press Photo, the National Magazine Award, the National Press Photographers Association, Wildlife Photographer of the Year, and Communication Arts. In 2011 she was a Global Vision finalist at Pictures of the Year International for her coverage of climate change in West Antarctica. As a Knight Science Journalism Fellow at MIT in 2012, she spent the year studying documentary filmmaking at Harvard.

Maria's film project, The Difference Between Night and Day, explores the lives of six blind children in India who receive cataract surgery and gain sight for the first time. Professor Pawan Sinha, a cognitive scientist at MIT, developed Project Prakash (The Light), with the twofold aim of doing basic research on how the brain learns to see while providing assistance to hundreds of children. Of the 13 million blind children in the world today, the largest number live in India.

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Pacho Velez is a teaching assistant in visual and environmental studies. His project, MANAKAMANA (co-directed with Stephanie Spray), is about pilgrims making an ancient journey in a hi-tech cable car.

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Julia Yezbick is a filmmaker, artist, and doctoral candidate in social anthropology (with media) with a secondary field in critical media practice. Her scholarly and artistic works address issues such as creative processes and artistic practice, labor and work, the body and the senses, materiality and ephemerality, and the ways in which "place" is experienced, constructed, and imagined. Her works have been screened at international film festivals including the Mostra Internacional do Filme Etnográfico, Rio de Janeiro, the Nordic Anthropological Film Association, Stockholm, and the Montreal Ethnographic Film Festival. She is a recipient of the Dan David Scholarship Prize for the "Plastic Arts" (2012) and the founding editor of Sensate, an online journal for experiments in critical media practice. Her current project, Into the Hinterlands (working title), is a collaborative film/video project with the Detroit-based performance ensemble, The Hinterlands. Into the Hinterlands reworks the "city symphony" for a post-industrial era playing at the boundaries between life "as it is" and life as it is imagined, staged, played, and performed—each reimagining evoking Detroit's legacy of recurring resurgence.

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Dilan Yildirim is a gradute student in anthropology, pursuing a secondary field in critical media practice. Her research focuses on the questions of landscape, state and political violence, narrative and political struggle in a marginalized highland Kurdish province in Turkey. In her documentary video project, she focuses on the everyday implications of the struggle against mining and dam construction projects in a politically active village in Dersim, Turkey. This video project is part of her attempt to develop a critical perspective to capture how spatial politics of the state and resultant active resistance against it render space a weapon more than a passive stage of battle, both on the part of a repressive state and the native as its target.

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