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DTSTART;TZID=America/New_York:20201105T170000
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SUMMARY:Patricia Saulis\, “Creating Space for Balance: Indigenous Knowledge and Western Science — Two-Eyed Seeing — in Environmental Justice and Media”
DESCRIPTION:Two-eyed seeing has been a contemporary concept  by two Indigenous Mikmaq Elders in Cape Breton Canada. Through the use of Indigenous Oral Tradition\, Elders Dr. Albert Marshall and Dr. Murdena Marshall have participated in many recordings of their concept and teachings. Their appearances at conferences across Canada and the United States provided many venues to share their work. In this presentation\, Patricia Saulis will feature clips of the Elders speaking and provide some perspective on how their work could be brought forward in discussions of Environmental Justice and Media. \n\n\n\n\n\n\n\n\nAbout Patricia Saulis\n\n\n\nPatricia Saulis is Executive Director of the Maliseet Nation Conservation Council and a member of the Maliseet tribe of Indigenous people\, whose lands lie along the Saint John River watershed on both sides of the US and Canadian border in Northeast Maine and Southern New Brunswick. Ms. Saulis is an experienced tribal policy administrator\, environmentalist\, and educational planner\, and has a very extensive background working in tribal organizations on matters of social well-being\, education and environmental sustainability. \n\n\n\nIn the midst of a highly fluid environment of changing political\, economic\, partnership\, and financial circumstances\, Ms. Saulis keeps the mission of restoring Wolastoq/St John Watershed in accordance with Maliseet rights and cultural stewardship squarely in her sights. \n\n\n\nMs. Saulis also has an impressive background in public health issues and policy surrounding First Nations communities throughout Canada. These experiences cover the breadth of important and current issues that impact Indigenous communities and represent her strong background and commitment in ensuring the betterment of not just her own Indigenous community but those of the entirety of North America.
URL:https://cms.mit.edu/event/patricia-saulis-two-eyed-seeing-indigenous-knowledge/
CATEGORIES:Colloquium
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2020/10/2021-Patricia-Saulis.jpg
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DTSTART;TZID=America/New_York:20201112T170000
DTEND;TZID=America/New_York:20201112T183000
DTSTAMP:20260409T224504
CREATED:20200928T193502Z
LAST-MODIFIED:20201113T145744Z
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SUMMARY:Adam Charles Hart\, "Beyond the Living Dead: Treasures from the George A. Romero Archive"
DESCRIPTION:With his 1968 debut Night of the Living Dead\, George A. Romero helped to inaugurate a new era of both horror film and independent cinema\, and introduced the world to the zombie as we know it today: re-animated corpses\, stumbling towards the living in search of flesh\, a ghoulish new kind of monster that has\, in the subsequent half-century\, become an essential part of the world’s cultural imaginary. From that moment on\, Romero would become known as the maker of zombie movies\, directing 5 more films set in the Living Dead universe\, an artist completely identified with that initial monstrous creation. \n\n\n\nRomero is a complex figure in American cinema. He worked outside the normal systems of financing and distribution for most of his career\, choosing to live and work in Pittsburgh\, where he built an industry and a community. But while being far from Hollywood ensured that access to funding for his projects would be severely limited\, and often contingent on his branding as the director of the “Dead” movies. The immense\, global impact of Night of the Living Dead ensured he could have a career\, but it restricted the scope and range of that career. \n\n\n\n\nHowever\, Romero’s archives paint a different picture. The University of Pittsburgh has acquired the George A. Romero Archival Collection\, a massive archive that includes materials from the full span of his career\, from his earliest short films to his final projects. There are drafts of genre classics like Dawn of the Dead and Day of the Dead that show their evolution throughout the process of pre-production\, supplemented by boxes and boxes of documents detailing their production and reception. But the largest and most revelatory component of the archive is the hundreds of projects that Romero never got to make. He only made 16 features in his lifetime\, but he was a hugely prolific writer\, with dozens and dozens of complete screenplays and many many more proposals\, treatments\, and partial works. \n\n\n\nThis talk will give a brief overview of the material in the archive\, focusing on what the unfilmed and unpublished projects tell us about Romero’s larger themes\, with pictures and clips of work from the archive that has rarely or never before been publicly viewed\, and how that work recontextualizes his genre films. It will then focus on the specific case study of his early approaches to “found footage” mockumentary horror\, which he tied to multiple projects about Bigfoot and other pre-human creatures and communities\, before incorporating it into his 2006 zombie movie\, Diary of the Dead. \n\n\n\n\n\n\n\n\nAbout Adam Charles Hart\n\n\n\nAdam Charles Hart is the author of Monstrous Forms: Moving Image Horror Across Media (Oxford UP). He has taught at Harvard University\, North Carolina State University\, and the University of Pittsburgh\, and is currently a Visiting Researcher at the University of Pittsburgh Library. His writings on horror films and video games and on the American avant-garde cinema have appeared in Discourse\, The Journal of Cinema and Media Studies\, Imaginations\, Studies in the Fantastic\, The New Review of Film and Television Studies\, and the edited collections Gothic Cinema (Edinburgh UP) and Companion to the Horror Film (Wiley-Blackwell UP). He is currently at work on two monographs: a critical study of the work of George A. Romero and a history and theory of handheld cinematography in film\, television\, and video called The Living Camera: The History\, Politics\, and Style of Handheld Cinematography from 16mm to GoPro.
URL:https://cms.mit.edu/event/adam-charles-hart-george-romero-archive/
CATEGORIES:Colloquium
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2020/09/Adam-Hart.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201119T170000
DTEND;TZID=America/New_York:20201119T183000
DTSTAMP:20260409T224504
CREATED:20201019T154111Z
LAST-MODIFIED:20201020T141813Z
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SUMMARY:Mauricio Cordero\, “BORDERx: A Crisis In Graphic Detail”
DESCRIPTION:In 2018\, the United States enacted a “zero tolerance” policy which criminalized the act of seeking asylum. In June 2019\, the inhumane conditions in detention camps across the border were revealed\, and several weeks later the BORDERx project was established. \n\n\n\nBORDERx: A Crisis In Graphic Detail is a comic anthology that examines the border crisis from a variety of points of view and narrative formats\, featuring 70 contributors from all over the world. Proceeds from the project go to South Texas Human Rights Center. Why address the issue with comics? How did we accomplish this enormous project in months instead of years? What were the financial considerations? What are the next steps for BORDERx? How can this platform serve other social issues?This talk will walk us through the project from origin to completion. Mauricio Cordero\, the project founder\, will discuss the journey with Prof. James Paradis\, offering insights and examples from the work.​ \n\n\n\n\n\n\n\n\n\n\nAbout Mauricio Cordero\n\n\n\nMauricio Cordero has worked in the arts and underground scene since the 1980’s. He established the fanzine\, CAUTION! and served as the education coordinator and program director at the Institute of Contemporary Art in Boston (ICA). In France\, he opened his own art gallery in Tours. Returning to the U.S. he served as executive director at the Revolving Museum and was also a founding co-director of Mill No. 5\, an indoor Victorian streetscape. \n\n\n\nCordero now teaches comics primarily and is a part-time lecturer at MIT. He is currently teaching Making Comics and Sequential Art and lecturing in The Visual Story-Graphic Novel. \n\n\n\nHis work has been published in Double Nickels Forever\, Dollars and Sense\, MIT’s GradX Comix series and Fashion Institute of Technology’s Black Stories Matter. BORDERx: A Crisis In Graphic Detail is available at all major online retailers and through the website www.border-x.com.​
URL:https://cms.mit.edu/event/mauricio-cordero-borderx-crisis-graphic-detail/
CATEGORIES:Colloquium
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