The Artists Speak Out
- Interviews by Sarah Browning
Sarah
Browning: Your films address a number of social issues: war, immigration,
disability, prejudice, sexuality, aging. What moves you to tell
these stories and how do you think filmmaking – and your films
specifically – can and do have an impact in these critical areas?
Ruth Sergel: The
scope of American film is so narrow. It's actually remarkably
easy to be out of the mainstream. So much of our experience is
NOT represented in mainstream films. If you are at all truthful
about representing your life experience you will be doing something
entirely new in American cinema!
Kagendo
Murungi: My greatest passion is to find ways to share
African stories and realities with the world. The hunger of African
audiences to see themselves depicted in more complex, respectful,
historicized and entertaining ways fuels my own need to raise
questions about contemporary social change issues via my documentaries.
Digital videomaking...represents a great opportunity for us to
tell our own stories and distribute them ourselves... Our stories
are often deemed controversial or unmarketable, yet the very act
of creating our own films shifts the balance of power that dictates
and often skews our perception of ourselves in community.
Sheila
Sofian: I have been surprised at the impact my films
have made on audiences. When screening "Survivors,"
many women have come up to me in tears, impacted by the personal
stories of violence. One observation which has been made several
times is that people have mentioned that if they had seen the
film as a live action documentary, they would have judged the
person speaking based on their appearance. However, they were
unable to make such a judgment when viewing “Survivors,” since
the viewer never saw the actual person who was speaking. They
told me that this allowed them to empathize with the person who
was interviewed in a way they would not have been able to if it
had been a live action film...I believe that the use of iconographic
images
impact the viewer in a way in which live action cannot. The images
are personal and "friendly". We are willing to receive
animated images without putting up any barriers, opening ourselves
up for a powerful and potentially emotional experience. The simplicity
of the images relieves some of the harshness of the topic being
described.
Browning: What are your goals for your films? Do you have different
goals for different films? Who are your intended audiences and
do you feel you are reaching them? In a society obsessed with
celebrity and fame, how do you define success for yourself as
an artist?
Murungi:
My dream come true is when a film I've labored on with so many
others is finally done. After that, my goal is simply to get the
film screened and hopefully discussed. I think that when I was
making “Via New York,” I really wanted to present a non-essentializing
perspective on African lesbians and gay men to the LGBT community
at large. I have on occasion received feedback that I was over-complicating
the issue by doing more than just sharing narrative sequences
including African coming-out stories, or showing same-sex couples
in love, maybe set in some lush African-looking settings. Relating
such stories to questions of access to education in the context
of the civil rights and anti-apartheid movements actually opened
the film to wider audiences. Ten years after it was released,
“Via New York” still has the interest of film festival programmers,
community activists, and educators. I take this to mean that the
questions it raises are still relevant or interesting, which is
a success!
Sergel:
I'm actually working on two different
films now. (No one was interested in GONE!) One is based on a
novel written during the Depression about hunger – for survival,
for a passionate life. The other is about a Chilean family that
immigrated to this country after the coup September 11, 1973.
After Sept. 11, 2001 here they are forced to re-think their silence
and what justice actually means. I am completely confident
that no major studio will want to produce either film so I don't
really waste my or their time by pursuing that.
I make my films because I have to. They are
an expression of the issues that I am mulling over on a daily
basis. The process of making the films and then interacting with
audiences at screenings gives me a way to engage in conversation
about the ideas I am already obsessed with.
I
think most people actually feel out of touch with the ‘mainstream,'
whatever that is. Who fits in with that??? I want to use my medium
to lower the barriers between people rather than hammer home some
particular belief of mine. For me success is getting to
make the work. Not many people get to do what they want in life.
I haven't gotten to make all the films in me, but each film is
a huge step forward for me as an artist and as a human being.
Sofian:
I have worked on mainstream projects in order to make money, but
my heart is in my independent filmmaking. I define success as
being able to reach audiences with my work. I do not expect to
receive traditional "celebrity and fame," as my work
is not traditional.
Browning: What do you think the
climate is like for women writers and directors in the film world?
Have you seen any improvement?
Sergel:
We are a country at war. In times of
war the last thing your government wants you to do is to think
independently. Doesn't matter what sex or race, anyone who is
telling the truth and encouraging people to think outside the
prescribed narrative is a threat. But that also presents an absolutely
wonderful time to be an artist. People really need art now. They
need the opportunity to hear the truth, to be encouraged to explore
the complexities of our all too human interactions.
Sofian:
I am optimistic. I believe the film industry is still male-dominated,
and women have to work harder for recognition. However, some women
have succeeded, and I expect more to follow.
Murungi:
I think that the climate is different for those of us who are
not making corporate videos or mainstream films, in that there
is more creative latitude and room for freedom of expression.
The trade-off is that marketing and distribution of the finished
work is never guaranteed. I think that the number of women's film
festivals, women artist networks, and even foundations for women
in this country has definitely increased in the past 15 years,
as have the number of women writers, directors, producers, editors,
directors of photography and so on. We have more colleagues with
a broader range of skills and similar goals, who are hopefully
more accessible to us now.
Browning: How do you sustain
yourself in your work over the long haul, especially in this political
climate? Do you have any recommendations for other women artists
and filmmakers who may be feeling discouraged or frustrated?
Sofian:
It is discouraging to be rejected for the few available grants.
I am driven to persevere, although it is difficult. My only recommendation
is to continue to listen to feedback from those who have succeeded,
and do whatever it takes to make your film or art. It only
takes one grant to make it happen. I was rejected by about 20
grants before I received one for "Survivors."
Murungi:
That is always a challenge. I have learned the hard way about
the value of long-term planning and having at least 6 contingency
plans for meeting basic production and post-production expenses
and playing the bills... I haven't yet figured out how to put
my heart and soul into a film project while also working a full-time
job, so it does feel very challenging. Having come to the brink
of despair when the computer crashed repeatedly or a software
conflict loomed invincible, I would say that laughter (even if
you have to cry first) helps. Patience is unavoidable, friends
(including those willing to trade or even donate their expertise)
are indispensable, and thank GOD for family.
Sergel:
I only survive by the grace of the wonderful community of people
who surround me – friends and fellow artists. I absolutely could
not be doing this work on my own.
Browning: What can our readers
do to support you and other filmmakers like you? How can they
see your films?
Sergel:
My website ( www.streetpictures.com
) is a bit out of date, but you can sign up to be on our mailing
list which keeps folks informed about upcoming screenings. Street
Pictures not only makes films but also creates community events
like the upcoming CHALK which commemorates the Triangle Factory
Fire. Soon you will be able to purchase DVDs of my films off the
site. In general, we all have to make the effort. Claim our own
power by staying connected and never, ever being afraid to speak
our mind. This is a time to be fierce dreamers.
Murungi:
Your lovely readers can continue to share tips with such resources
as The Fund for Women Artists about where independent filmmakers
can get research or finishing funds quickly, cheap equipment or
loaners, in-kind contributions of DVD or Mini-DV duplications,
contact us if they know about distributors, or make any contributions
they feel able to. A dollar really does stretch further in the
independent video production world than in the world of mainstream
film, but more important than that perhaps is the power of word-of-mouth.
If your readers work with community organizations or departments
in educational institutions, which may have an interest in screening
innovative independent work and/or hosting Q&A's with filmmakers,
their collaboration as distribution partners is critical to the
accessibility and ‘shelf-life' of an independent film.
I am the distributor for “Via New York,” which
is my only publicly circulated film. In the next few months I
hope to complete my new experimental documentary “Sunshine Boutique,”
which I will distribute via my website (under construction): www.sunshineboutique.org
, where I will promote future productions as well
as publicize upcoming screenings and community events. If people
are interested in a preview copy of “Via New York,” they can email
me at withmyancestors@yahoo.com
.
Sofian:
My films are distributed educationally – you can find
a list on my web site. I also sell them myself on the site at
: http://home.earthlink.net/~sofafilms/animator/id2.html
The
best way to support independent film is to try to see it when
it becomes available.
Sarah
Browning is the Associate Director of The Fund for
Women Artists. Please email her at
browning@WomenArts.org
if you have story ideas or suggestions of other fabulous artists
on the WomenArts Network to interview for future newsletters.
Read
more about Sarah Browning on the WomenArts Network!>>
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Back to February 2005 Newsletter >>
