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[INTERVIEWS
> MAD CAT 6]
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08/29/02
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Ariella
Ben-Dov, Festival Director
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2nd
Interview with Ariella Ben-Dov, Festival
Director of MadCat Women's International Film Festival in
its 6th year.
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| In its sixth year, the MadCat
Women's International Film Festival is a showcase of cutting-edge
experimental and independent films and videos by women from
around the globe. Every year, MadCat seeks to exhibit provocative
and visionary works that are original in their use of the medium.
In both form and content, the makers in this year's program
have approached their image-making in remarkably unique ways.
The MadCat Film Festival was hailed as "Refreshingly Unique"
by Film/Tape World and selected at one of the "101 Reasons Why
We Love the Bay Area" by the San Francisco Chronicle. |
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From
"Standing at Ground Zero" by Chris Willging
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| iR:
This is already MadCat's sixth year. What are the range
of genres of experimental films in this year's festival?
Anything outstanding or different or evolved from the
past batch of experimental films? Any new trends? |
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| It always amazes me each year that the range
of films and videos women are making is so far reaching.
This year MadCat is screening everything from animated,
narrative and documentary films to films that take a new
look at the idea of "educational" media and of course,
the historical films that MadCat loves to screen. Within
each genre there seems to be many sub-genres. For example,
this year we have both hand made and computer generated
animated films as well as animated documentaries. We also
have a range of experimental documentaries. Cade Bursell's
film, Test Sites uncovers the unorthodox practices of
our lovely government during the making and the testing
of the atomic bomb. She uses collage (Cade literally scotch
taped 16mm film onto 35mm stock), medical film footage
and her own footage from a Nevada Test Site. This is a
really great example of a filmmaker who has married many
different genres of filmmaking into a cohesive film. Her
film is not just one style - it is a collage film, a found
footage piece and a documentary all at once. I think this
is one reason it was so exciting and challenging to program
MadCat this year (besides there being so many entries)
- because there are so many films that are multi-layered
both in their message and in their style of filmmaking. |
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| iR:
In your opinion, what is the connection between women
makers and experimental films? Is there more than just
a categorical connection for you as a programmer? |
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| I am intrigued by how women translate their
experiences or the stories they choose to tell onto the
moving image. I am especially interested in experimental
makers or makers who choose to tell their stories in complex
and unique ways. There's a great quote by Shirley Clarke,
she says, "As a woman in this world and a woman filmmaker,
I know a lot about alienation... at the same time... my
career was helped a lot by it. It allowed me to be unique,
and it allowed me to do things that might not have gotten
attention except that I was one of the few women who made
films. I was aware of that, and I think I always knew
that it would be advantageous..." |
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| Of course there are many women making films
these days but of course, not many who are getting the
recognition whether it be from film festivals, museums
or the press. I think for a whole school of experimental
women makers they are truly making their art for the art
of it. They do not assume they will gain national recognition
for their work nor do they bank on it. These films are
gritty and raw and tell stories in ways that give audiences
goose bumps. Of course there are many women filmmakers
these days who are making more straightforward work...
but for those who choose to tell their stories through
allegories or with the texture of film and complex sound
tracks they are perhaps translating their stories in the
only way that makes sense for them - through the often
visceral moving image. |
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"Dark
Dark" by Abigail Child
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| iR:
It seems that there is a never-ending stream of experimental
film production by women. What are the profiles of these
filmmakers? How do they support themselves, their careers
and productions? |
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| I think many of these filmmakers are in
academia or working as editors or perhaps they are engineers
or waiters or --- the list goes on. While there are grants
out there I think a good number of women filmmakers out
there especially experimental filmmakers working in the
short form are self funding. They are working out of pocket
or creating movies from the things in their homes or studios.
If we all waited for funding there wouldn't be much art
out there or exhibition spaces for that matter. It's amazing
how much work is being produced even in hard economic
times. It seems to be a great outlet - when things are
tough what else are you going to do but make art? |
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| iR:
What are the outlets for experimental films these days
besides a fabulous specialized festival like Madcat's?
Where else can people see these films? |
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It's amazing how many microcinemas have opened up in
the recent past. Many are showing great experimental
films and videos. It's really refreshing and a great
way for folks to see these films locally for relatively
little cash..jpg)
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From
"Run Solo"
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| MadCat Women's International Film Festival begins
from September 6 to 29 at Pacific Film Archive, Artists'
Television Access and El Rio in the Bay Area. |
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| For more information about MadCat, go to: www.somaglow.com/madcat
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/images/globals/graphics/ir.jpg) Read
Ariella Ben-Dov's interview for MadCat 5 last year |
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