Board of Directors
Peter Conheim is a film curator, musician and audio preservationist based in El Cerrito, California. He co-owned the long-running Guild Cinema art house theater in Albuquerque from 2004–2009 and continues to present shows in the San Francisco Bay Area and beyond, as well as engaging in or assisting various film preservation endeavors. He co-created the clip-based documentary, VALUE-ADDED CINEMA (with Steve Seid, 2003), and directed a short video observing Canadian filmmaker Guy Maddin at work, BRAND IMPRESSIONS (2005). He is also the co-founder of Wet Gate, which uses only “found footage” and 16mm film projectors to create a live cinema collage performance, sampling the sound from the film tracks in real time, as well as Mono Pause, a long-running “Situationist rock” performing group (and its Southeast Asian music spin-off, Neung Phak). His Red Channels studio specializes in restoration and digitization of archival audio, with clients including the Superior Viaduct and Sublime Frequencies record labels, Criterion Collection and projects by The Mutants, MX-80 Sound, Tuxedomoon, and many others.
Additionally, he is a long-time member of the “culture jamming” performance and recording group, Negativland, based in the San Francisco Bay Area. The group’s adventures Fair Use in U.S. copyright law are legendary, most notably a fight with U2′s music publishers in 1992. Since 1999, he has been bass-playing sideman for singer Malcolm Mooney from the Germany-based music legends, CAN, in Malcolm Mooney and the Tenth Planet.
Scott MacDonald is author of the on-going series, A Critical Cinema: Interviews with Independent Filmmakers, now in five volumes (Berkeley: University of California Press, 1988, 1992, 1998, 2004, 2005). His Avant-Garde Film/Motion Studies (Cambridge University Press) was published in 1993; Screen Writings: Scripts and Texts by Independent Filmmakers (California), in 1995; and The Garden in the Machine: A Field guide to Independent Films about Place (California) in 2001. MacDonald has published three books on institutions that have kept alternative cinema alive: the companion volumes Cinema 16: Documents Toward a History of the Film Society and Art in Cinema: Documents Toward a History of the Film Society (Philadelphia: Temple University Press, 2002, 2006) and Canyon Cinema: The Life and Times of an Independent Film Distributor (California, 2008). His articles and interviews have appeared in Film Quarterly, Artforum, October, The Chicago Review, American Studies, Natural History, ISLE (Interdisciplinary Studies in Literature and Environment), Feminist Studies, and other journals. Adventures of Perception (California), a collection of essays and interviews, was published in 2009. Learning from Experience: The Cambridge Turn in American Documentary Filmmaking is in production.
In 1999 MacDonald was an Anthology Film Archives Film Preservation Honoree and in 2011 the Academy of Motion Picture Arts and Sciences named him an Academy Scholar. He has curated film events at the Museum of Modern Art (New York), Anthology Film Archives, the Pompidou Center, SFMoMA, the Pacific Film Archive, the Harvard Film Archive, and many other venues. He is Professor Emeritus at Utica College of Syracuse University. In recent years he has taught film history and programmed film events at Bard College, Hamilton College, Harvard University, and Colgate University.
Rebecca Meyers is the new Film Programmer for Bucknell University’s screenings at the historic Campus Theatre in downtown Lewisburg. She recently moved to Pennsylvania from Cambridge, Massachusetts, where she taught filmmaking and was the Director of Film Programs for ArtsEmerson at Emerson College. From 2009-2013 she has served as Associate Director of Studio7Arts, a non-profit organization founded by filmmaker Robert Gardner that produces and promotes his and other artists work. Prior to that she worked at The Harvard Film Archive and before that she served as the co-director of the Onion City Film and Video Festival in Chicago and an organizer of Iowa City’s THAW Film Festival. She is currently co-editing Looking with Robert Gardner, a new collection of writing on the artist’s career. Rebecca is also a 16mm filmmaker whose works have screened at venues including Anthology Film Archives in New York and the London, Edinburgh, Oberhausen, San Francisco, Toronto and New York International Film Festivals.
Michelle Puetz is the 2013-15 Andrew W. Mellon Postdoctoral Curatorial Fellow at the Museum of Contemporary Art Chicago. She received her Ph.D. from the University of Chicago in 2012 where she completed a dissertation titled “Variable Area: Hearing and Seeing Sound in Structural Cinema, 1966-1978.” Michelle teaches in the Department of Film, Video, New Media and Animation at the School of the Art Institute of Chicago and is currently serving on the Advisory Board of the Chicago Film Archives. She has curated film programs on subjects ranging from post-war Japanese experimental cinema to the history of amateur and industrial filmmaking in Chicago.
Michael Renov is Professor of Critical Studies and Vice Dean for Academic Affairs at USC’s School of Cinematic Arts. He is the author of Hollywood’s Wartime Woman: Representation and Ideology and The Subject of Documentary, editor of Theorizing Documentary, and co-editor of Resolutions: Contemporary Video Practices, Collecting Visible Evidence, The SAGE Handbook of Film Studies and Cinema’s Alchemist: The Films of Peter Forgacs.
In 1993, Renov co-founded Visible Evidence, a series of international and highly interdisciplinary documentary studies conferences that have, to date, been held on four continents. He is one of three general editors for the Visible Evidence book series at the University of Minnesota Press, which has published 25 volumes on various aspects of nonfiction media since 1997. In 2005, he co-programmed the 51st annual Robert Flaherty Seminar, a week-long gathering of documentary filmmakers, curators and educators, creating 20 screening programs and filmmaker dialogues on the theme “Cinema and History.”
In addition to curating documentary programs around the world, he has served as a jury member at documentary festivals including Sundance, Silverdocs, the Buenos Aires International Independent Film Festival, Brazil’s It’s All True and the International Environmental Festival of Film and Video, also in Brazil. He has taught graduate seminars at the University of Stockholm and Tel Aviv University and has led documentary workshops in Jordan for the Royal Film Commission and in Cyprus. Renov’s teaching and research interests include documentary theory, autobiography in film and video, video art and activism and representations of the Holocaust.