I am a filmmaker, daily videomaker, diary keeper, video artist, reader, writer, teacher, question asker, raw nerve, hot spring hopper, product of white suburbs of New York and DIY culture of the 90s, and friend to many. My involvement with the post-9/11 “War on Terror” spurred my work with prison and police abolitionist movements. I am the recipient of numerous grants, awards, and residencies and I exhibit work in theaters, community spaces, galleries, campgrounds, storefronts, the sides of bridges, and many other venues. I see movies in actual movie theaters. I like old cameras. I eat pancakes at a diner at least once a week. Originally from New York, I am a Professor of Art at Portland State University in Portland, Oregon.
I teach & speak on many things! To name a couple faves:
Diary Filmmaking
Radical Aesthetics & Radical Politics
Reach out: julieperini@gmail.com
To purchase or book a screening of Arresting Power: screenings@collectiveeye.org
To book The Gentleman Bank Robber film: gentlemanbankrobber@gmail.com
I teach & speak on many things! To name a couple faves:
Diary Filmmaking
Radical Aesthetics & Radical Politics
Reach out: julieperini@gmail.com
To purchase or book a screening of Arresting Power: screenings@collectiveeye.org
To book The Gentleman Bank Robber film: gentlemanbankrobber@gmail.com
Relational Filmmaking: A Manifesto
Relational filmmakers do not make films about people.
Relational filmmakers make films with people.
Relational filmmakers do not interview subjects.
Relational filmmakers have conversations with other people.
Relational filmmakers do not make films for unknown audiences.
Relational filmmakers make films for their friends and neighbors.
Relational filmmakers do not know what the final film will look like.
Relational filmmakers make formal decisions that address the aesthetic, ethical, technical, and personal problems encountered throughout the making of the film.
Relational filmmakers do not adhere to established modes or conventions.
Relational filmmakers make films that are abstract, factual, and fictional, all at once.
Relational filmmakers do not fuck around with these tools of representation and power.
Relational filmmakers use their tools to experiment with new ways of being and to emancipate new forms of subjectivity.
Relational filmmakers believe that reality is the consequence of what we do together. Their films carry and conduct traces of this belief. Relational films are co- created through careful and playful interrogations of the roles performed by the people and materials involved with the film’s production and reception: artists, subjects, passers-by, audiences, environments, ideas, and things.
Written By Julie Perini
while in Edinboro, Pennsylvania
September 2009
Relational filmmakers do not make films about people.
Relational filmmakers make films with people.
Relational filmmakers do not interview subjects.
Relational filmmakers have conversations with other people.
Relational filmmakers do not make films for unknown audiences.
Relational filmmakers make films for their friends and neighbors.
Relational filmmakers do not know what the final film will look like.
Relational filmmakers make formal decisions that address the aesthetic, ethical, technical, and personal problems encountered throughout the making of the film.
Relational filmmakers do not adhere to established modes or conventions.
Relational filmmakers make films that are abstract, factual, and fictional, all at once.
Relational filmmakers do not fuck around with these tools of representation and power.
Relational filmmakers use their tools to experiment with new ways of being and to emancipate new forms of subjectivity.
Relational filmmakers believe that reality is the consequence of what we do together. Their films carry and conduct traces of this belief. Relational films are co- created through careful and playful interrogations of the roles performed by the people and materials involved with the film’s production and reception: artists, subjects, passers-by, audiences, environments, ideas, and things.
Written By Julie Perini
while in Edinboro, Pennsylvania
September 2009