Board of Directors
Max Goldberg is an archivist and critic based in Oakland, California. His writings on cinema appear regularly in San Francisco Arts Quarterly, The Brooklyn Rail, Cinema Scope, Fandor Keyframe, and the Harvard Film Archive’s program calendar. He was a regular contributor to The San Francisco Bay Guardian until the paper’s demise in 2014. Max holds an M.A. in Cinema Studies from San Francisco State University and an MLS in Library and Information Science from Simmons College. He has recently cataloged archival collections for the Harvard Film Archive and Berkeley Art Museum and Pacific Film Archive.
Rebecca Meyers, Treasurer
Rebecca Meyers is the Film Programmer for Bucknell University’s screenings at the historic Campus Theatre in downtown Lewisburg. Before moving to Pennsylvania 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 produced and promoted 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 co-editedLooking with Robert Gardner, a new collection of writing on the artist’s career (SUNY Press 2016). 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, Secretary
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, President
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.
For twenty five years, Steve Seid was a Film and Video Curator at the Pacific Film Archive, at UC Berkeley. He organized over 1,000 programs of video art, film, and new media for the PFA’s public programs. Seid also oversaw an on-going video preservation project and for ten years conducted annual workshops on visual literacy for high school teachers. He has taught video aesthetics and history courses at the University of California, Berkeley, San Francisco State University, the California College of Arts, and the San Francisco Art Institute.
Following on the ambitious preservation of videotapes from the National Center for Experiments in Television (1967-1975), Seid curated Videospace (2000), a gallery exhibition dedicated to the first TV Lab. His large-scale program, Whose Side Are You On?: The Border, toured Brazil under the sponsorship of Itau Cultural. He co-curated the first museum retrospective of Ant Farm, the ‘60s/’70s art collective and creators of Cadillac Ranch and Media Burn, which toured internationally through 2006. Seid also curated the 52nd Robert Flaherty Film Seminar which took place at Vassar College in spring, 2006 and the Stan Brakhage Symposium, 2009.
Radical Light, a fifty year history of moving image art from the San Francisco Bay Area, made its appearance in 2010 as both a co-edited book (UCPress) and a film/video exhibition that travelled to New York, Chicago, Houston, Portland, Los Angeles, and Minneapolis. In 2013, Seid worked with the Menil Museum and the Berkeley Art Museum to co-curate Silence, a gallery exhibition honoring John Cage’s 100th birthday. Soon to be released will be the restoration of Steven Arnold’s gender-defying Luminous Procuress, a 1971 feature-length film starring the Cockettes.
Jeffrey Skoller is a writer and filmmaker. His films, video and photography have been exhibited internationally. Screenings and exhibitions include: The Pacific Film Archive, Berkeley; Museum of the Moving Image, NY; JP Getty Museum, Los Angeles, CA, Whitney Museum, NY; P.S. 1, NY; Yerba Buena Center for the Arts; Flaherty Film Seminar, NY; Arsenal Kino, Berlin; Mannheim Film Festival, Germany; The Latin American Film Festival, Havana; National Film Theatre, London. His essays and articles on experimental film and video have appeared in numerous books, artist catalogues and in journals including Film Quarterly; Discourse; Afterimage; Animation: An Interdisciplinary Journal, Cinematograph, among others. He is the author of two books Shadows, Specters, Shards: Making History in Avant-Garde Film (University of Minnesota Press) and POSTWAR: The Films of Daniel Eisenberg (Blackdog Press). Skoller was one of the founding faculty members of School of the Art Institute of Chicago’s Film/Video/New Media Dept, and director of Cinema and Media Studies program at Wellesley College. He is currently Associate Professor of Film & Media at UC Berkeley.