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Patricia Montoya is a video maker and educator, born in Medellín, Colombia, transplanted to San Diego, California via Brooklyn, NY, and back to the East Coast, where she is teaching video at Hampshire College. Montoya has taught documentary production and various forms of non-fiction, experimental, and narrative film, and video at the University of California, San Diego and California State University, San Marcos and in various youth media community centers and alternative high schools in New York City. She holds an M.F.A from the University of California, San Diego and an M.A. from The New School for Social Research, NY.
In her creative work, Patricia draws on her bi-national identity and her Queer, U.S./Mexico border, and East-West North American experience to tackle the existential conditions and cultural contradictions experienced by immigrants from Latin America who are living in the United States. Her videos address issues of migration, memory, and identity through lyrical explorations of text, dialogue, theatrical adaptations, and the depiction of intimate human relations within the context of urban landscapes. Patricia is a product of the cultural and political movements of the 1990s, which were characterized by the impetus to express, in a personal voice, and with a sense of urgency, issues of identity and belonging.
In her triptych Terrazas, Patricia experiments with script, temporality, and sound to address memory and nostalgia as framed by the experience of migration. Terrazas consists of three interconnected short videos that examine the city landscape from the perspective of rooftops, lookouts, and terraces in Medellín, Colombia, and in Tijuana, México.
The first, entitled Candide, captures the image of Tijuana as sifted through the artist’s memories of her own childhood in Medellín, Colombia. It is an experimental narrative video about lesbian love and immigrant longing performed on a rooftop in Tijuana, Mexico. Sometimes Walking. Sometimes Sitting. Always Carrying Our Own Chairs is the second work in the triptych and follows two improbable flâneurs as they traipse and trample across Tijuana holding a seemingly endless conversation from a lookout. It creates an ironic staging of migrant nostalgia and homesickness to critique the personal and political disconnect that comes from attachment to the past. The final short, Medellín, how can I turn you into an object? blends the contrasting landscapes of Medellín and Tijuana into an impressionistic diorama. It is shot as a lyrical documentary with symphonic overtones, and also as a love poem and farewell from the artist to Medellín. Montoya attempts to make that city (which is the subject of her undying but elusive love) into an art object, failing in the effort.
She is currently in the developmental stages of various projects, including the production of the Power of Words Written, a documentary about cancer survival stories told from the perspective of the members of the writing support group at The Cancer Support Community, Benjamin Center, LA; La Niña de La Carta, an animation short about a young woman/spirit in NYC who engages in long, solitary, aimless walks in New York City and can’t satisfy her hunger for food and love. She is also collaborating in the production of The Real Women of Orange is the New Black, a documentary series co-directed by Carol Skelsky Soto and Braccus Giovanno, based on the Netflix series Orange is the New Black.
Charles Ramirez Berg: Professor of Film Studies in the Department of Radio-Television-Film and the Moody College of Communication at the University of Texas at Austin. Author of Latino Images in Film: Stereotypes, Subversion, and Resistance (Austin: U. of Texas Press, 2002) and Cinema of Solitude: A Critical Study of Mexican Film, 1967-1983 (Austin: U. of Texas Press, 1992) as well as Posters from the Golden Age of Mexican Cinema (Mexico City: The Mexican Film Institute and the U. of Guadalajara Press), reprinted as Cine Mexicano: Posters from the Golden Age, 1936-1956 (San Francisco: Chronicle Books, 2001). His latest book, The Classical Mexican Cinema: The Poetics of the Exceptional Golden Age Films (2015, University of Texas Press), was the Grand Prize winner of the 2016 University Co-Op Robert W. Hamilton Book Awards and was named an Outstanding Academic Title by the American Library Association. He regularly teaches courses in film history and criticism, as well as screenwriting and narration in film courses, including: the introductory survey of film history; Latino Images in Film; Narration in World Cinema; Introduction to Screenwriting; Introduction to Film Criticism; Film History; and Alternative Poetics.
Kegels for Hagel: We are a conceptual project that makes music. We are an open collaboration of artists and academics. Our songs rehearse, reference, pervert, and pay homage to the ideas of philosophers and other thinkers. Alexis Salas, visiting assistant professor of art history in the School of Humanities, Arts, and Cultural Studies, Hampshire College; and Sarah Luna, postdoctoral fellow at the rank of visiting assistant professor of Latin American Studies at Davidson College.
Susan Shilliday: Instructor in Screenwriting at Hampshire College, is a professional screenwriter for film and television. She began her career as a writer and producer of the Emmy-award winning “thirtysomething." For one of her many episodes, “Therapy,” she was awarded the Writers’ Guild Award. Among her other credits is the screenplay for the film adaptation of Jim Harrison’s “Legends of the Fall.” Shilliday has also for over twenty years been associated with Robert Redford’s Sundance Institute as an advisor for the twice-yearly Screenwriting Labs. In addition, she is the owner of the Montague Bookmill, a used bookstore in nearby Montague Center.
Chris Perry: An award-winning screenwriter, director, and producer with over 20 years of film experience, he is a professor of media arts and sciences at Hampshire College. Perry is also the founder of Bit Films, an independent production studio in western Massachusetts. Before settling in New England, Perry worked in VFX and feature animation at Pixar (A BUG’S LIFE, TOY STORY 2, FINDING NEMO) and won a technical Oscar in 2014 for the animation software he developed at Rhythm & Hues Studios.Eric Henry Sanders: Award-winning playwright, screenwriter, film producer, and director. He began his film work as an intern and production assistant at Good Machine (co-founded by James Schamus and Ted Hope), and has taught screenwriting and narrative at Hampshire College as adjunct assistant professor of writing and multi-media since 2000. His plays and films have had productions and screenings in London, Paris, Berlin, Edinburgh, and from coast to coast in the U.S.Emelyn Roberts: Screenwriter, editor, and director currently studying at Hampshire College. A native of Portland, OR, their screenplay “Repent” was screened at the 2016 All American High School Film Festival, and nominated for two awards. "Repent" was created at Interlochen Arts Summer 2015, where Emelyn took part in the Digital Filmmaking Program. Other projects Emelyn has worked on include “West Snap Story” as as Director of Photography, “Blue Moon” as assistant director. Most recently, Emelyn has been working on “Encapsulating Space,” a video installation project about the Norwottuck Rail Trail Bridge in Northampton.