#Chanelle Aponte Pearson

[yourdailyqueer]

Chanelle Aponte Pearson

Gender: Female

Sexuality: Queer

DOB: N/A

Ethnicity: African American

Occupation: Producer, director, screenwriter

[poesiecritique]

195 Lewis, Pearson, 2012 ou S1-9x5 fois = un film

au détour de liens pas loin relayés, je tombe sur American Fringe, festival américain cinémathèquien, annulé cos-covid, & qui cette année propose en ligne 2 films de chacune des sélections précédentes dans American Fringe on line il y a 195 Lewis réalisé en 2017 par Chanelle Aponte Pearson, que je ne connaissais pas, mais je ne connais pas le cinéma américain indépendant, et moins encore le cinéma indépendant d’aujourd’hui, merci Fringe, alors Chanelle Aponte Pearson je la découvre, multi-casquette, cheffe-opératrice, scénariste, productrice et réalisatrice, elle est membre de la New Negress Film Society, un collectif de 5 réalisatrices noires, avec, en plus de  Chanelle Aponte Pearson : Nuotama Bodomo, Dyani Douze, Ja’Tovia Gary, Stefani Saintonge et Yvonne Michelle Shirley, qui a été fondé en 2013, pour “créer une communauté d’entra ide visant à la promotion et aux prises de conscience” - politique et artistique, et pour le dire extrêmement rapidement, que je comprends être intersectionnelle.

195 Lewis est très court, pas même 50mn, c’est l’enchaînement de 5 épisodes, micro-websérie de 5x9 mn d’où découle, pour faire film, un étrange montage, ultra linéaire, avec au milieu les cartons, double, doublé deux fois : fin + début, 195 Lewis-195 Lewis, mode de visionnage terriblement différent de l’enchaînement youtube-viméo-plateforme-de-diffusion-en-ligne de la série : plus la micro-action à la fin de l’épisode pour lancer le suivant mais toujours ce rythme qui accroche descend monte revient descend remonte suspend, t’oblige à agir et là rien, ça enchaîne, tempo moyen-métrage, mais qu’est-ce que cette temporalité vient-elle faire dans celle d’une série ? je suis perplexe, mais connais trop peu les réflexions en cours, qui courent-courrent-s’accélèrent, sur ces habitudes, ces nouvelles modalités et nouveaux regards conséquents, les nouveaux corps qui interagissent avec du contenu, court, à relancer, te relançant sans cesse, aiguisant ton appétit et ta fatigue

passer ce modus avec lequel aucune de mes habitudes n’a prise, 195 Lewis, one ninee five Lewis est réjouissant - même si, j’imagine, comprenant sans doute qu’une demi-moitié des allusions, oh L word! l’autre m’échappe - qu’il pourrait l’être deux fois plus, mais ce n’est peut-être pas si mal de savoir que m’échappe, comprendre, lâcher prise, ne pas pouvoir tout saisir, que ça glisse entre mes doigts, savoir que toutes les références je ne les ai pas, ne les aurai jamais toutes, me calmer avec ça, être heureuse que certaines soient ainsi offertes d’une communauté noire lesbienne, queer, polyamoureuse ; je pense là au fanzine bluettes que je viens de lire chez @swedesinstockholm​  où se tisse tout ce que je connais, d’ingold au transposthumanisme écosexuel, de l’effritement whitheheadien que peint stengers au dieu changeant d’Octabia Butler, d’une aisselle en feu d’une jeune fille à la biopolitique foucaldienne,  tout ce que je connais mal, plutôt par strates, juxtapositions de compréhensions comme on construit un château de sable dont le continuum nous précède, évidemment, mais dont on veut bien l’être un grain de sable tant qu’on vit - alors quoi ? alors les références ça sert à savoir qu’on touche comme à être touchée, ça sert à ouvrir celles qu’on a si on arrive à ne pas être submergée par tout ce qu’il y aurait encore à savoir, c’est un peu comme le motif dans le tapis, dès que tu découvre que tirer un fil pourrait défaire aussi bien le tapis, tu fais attention, tu le suces et autour de tes doigts tu l’enroules, tu fais un nœud serré que tout tienne encore, et tu t’allonges sur la tapis, certaine que chacun de ses poils vont te faire voyager, tranquille, jusqu’au cœur du mystère, vas-y voyage ces histoires courtes 195 Lewis  me touchent, ce sont des histoires d’amour et de désir, où amour et désir sont aussi bien amour et désir que politique, où il est question de trouver sa place, trouver un boulot, ne pas rivaliser, aimer, savoir aimer, désirer et aimer, ne pas avoir le cœur fendu de jalousie propriétaire mais c’est difficile, ça flirte avec tout ce qui est difficile parce que ce n’est pas parce qu’on enlève les gars que leurs habitudes disparaissent de nos corps, et qu’au delà de leur habitudes et des genres le spectre du pouvoir ne cesse de serpenter, mais malgré tout, ça laisse quand même du champ, de la place pour respirer ; c’est doux comme l’exctasy partagée avec qui est aimé*e, on n’est pas tout à fait dans la réalité ; si 195 Lewis n’est pas une websérie-film de ma réalité, mais de cette réalité-ci, d’un Brooklyn qui “is constantly changing, and it continues to welcome a host of people from all walks of life. With 195 Lewis, I’m more interested in representing a part of Brooklyn that is specifically Bed-Stuy, Black, queer, and saturated with activists, artists, and other cultural producers that make the borough so inviting in the first place. Between lighting, wardrobe, production design, and dialogue, I want audiences to feel completely immersed in our world.” Chanelle Aponte Pearson  que (ce) Brooklyn ne peut pas être ma réalité (par exemple parce que je suis blanche), sentir que celle-ci peut se traduire ainsi, me rend très joyeuse ! >>  à voir ici jusqu’au 2 déc. : Pearson, 195 Lewis, USA, 2017, 47′15  <<

[scenesandscreens]

An Oversimplification of Her Beauty (2012) Director - Terence Nance Cinematography - Matthew Bray & Shawn Peters Art Direction - Sabrina Iyadede & Stephanie Matthews "What you are about to see is a short film entitled 'How Would You Feel?' created by one Terence Nance in 2006. How Would You Feel? is an educational film that examines theories about how humans come to experience a singular emotion."

[modernerealisateur]

[blackqueercharacters]

Taja Lindley as Sierra

The actress portrays a pansexual business manager in Chanelle Aponte Pearson’s 195 Lewis.

[outandaboutnycmag]

9/26/18 O&A NYC FILM/DANCE: Frenel

9/26/18 O&A NYC FILM/DANCE: Frenel

Frenel Morris (a Miliner/Father) Terence Nance (Director) Chanelle Aponte Pearson (Producer) Shawn Peters (Photography) Storyboard P. & Daphe Lee (Dancers) Nelson Mandela Nance (aka Norvis Junior) (Editor).  (more…)

[dapperq]

Thursday, November 9th from 7-9pm at @brooklynmuseum Enjoy an evening of Brooklyn film with two new releases highlighting the experiences of queer and trans* people of color. First, catch Walk for Me (Elegance Bratton, 2017, 12 min.), a contemporary coming-out story exploring chosen family. Then, we’re screening season one of the web series 195 Lewis (Chanelle Aponte Pearson, 2017, 5 episodes, 47 min.), a boundary-pushing dramedy that follows a group of women navigating black and queer life in Bed-Stuy. Followed by a Q&A with Chanelle Aponte Pearson, cast members Rae Leone Allen and D. Ajane Carlton, and music supervisor Ryann Holmes. #qpoc #qtpoc #filmscreening #brooklynmuseum #dapperQ (at Brooklyn Museum)

[brooklynmuseum]

We’re excited to announce our film series Black Queer Brooklyn on Film! For the entire month of June, we’re showing new shorts by young, black, queer female-identified, and gender-nonconforming video artists and filmmakers working in Brooklyn.  

On view in the Elizabeth A Sackler Center for Feminist Art Forum, adjacent to our special exhibition We Wanted a Revolution: Black Radical Women, 1965–85, this series brings conversations initiated by artists in this historic period of second-wave feminism around race, gender, feminism, and political action to the present. By showcasing the latest work coming out of Brooklyn today, 30 years after the span of the exhibition, this series expands on the legacy of groundbreaking cultural production on view in the galleries.

Scheduled to run throughout June (pride month!), we honor the contributions of the Combahee River Collective, a black lesbian feminist organization formed in 1974, and their Black Feminist Statement which frames We Wanted A Revolution. The shorts in Black Queer Brooklyn on Film represent the diverse range of material being produced in the medium in Brooklyn right now across, between, and beyond genres. Artists and filmmakers in the series utilize narrative, montage, documentary, web series, and animation to imagine new possibilities for art making and storytelling.

Featuring new releases by Frances Bodomo, Dyani Douze, Ja’Tovia Gary, Nontsikelelo Mutiti, Chanelle Aponte Pearson and Stefani Saintonge—members of film collective New Negress Film Society— and Reina Gossett, Lindsay Catherine Harris, Carrie Hawks, Taja Lindley, Tiona Nekkia McClodden, D’hana Perry, Naima Ramos-Chapman, and Isabella Reyes.

The series kicks off at June’s Target First Saturday and continues on subsequent Thursdays throughout the month. On June 29, the series culminates with a special screening of the influential classic The Watermelon Woman with director Cheryl Dunye and poet-activist Cheryl Clarke in person. See here for the full schedule and join us for the kick off on First Saturday!

Posted by Lauren A. Zelaya

[hulems]

'195 LEWIS', la serie sobre mujeres negras, queer y poliamorosas en Nueva York http://hayunalesbianaenmisopa.com/2017/02/01/195-lewis-la-serie-mujeres-negras-queer-poliamorosas-nueva-york/

'195 LEWIS', la serie sobre mujeres negras, queer y poliamorosas en Nueva York

195 LEWIS es una dramedia que retrata la vida de mujeres negras, queer y poliamorosas en Brooklyn, Nueva York. Dirigida por Chanelle Aponte Pearson, la serie -que se estrenó en diciembre de 2016 en el BAM …

[fringefilmfest]

Queer Cinema Magic from Female Filmmakers at Fringe!

Chavela, dir Catherine Gund. We don’t want to prematurely herald The Year of the Lesbian, but this year’s Fringe! programme displays a very welcome breadth of feminine film talent, as well as dynamic female subjects. With a Catherine Gund strand throughout and a range of female, non-binary, lesbian and trans directors in attendance for panel discussions, we have really seen a shift in the queer film-making landscape, and the range of queer cinema being made is all the better for it.

Catherine Gund, Act Up.

First we’ve got to talk about our Catherine Gund Focus. From two unbelievable feature documentaries that see Gund ingratiated in the lives of her subjects: Born to Fly: Elizabeth Streb vs. Gravity and more recent work, Chavela, will leave you gasping at the strength of their subjects’ presence in the world. Gund’s films celebrate lives lived fully. We will be tracing this fervour in her earlier career with a presentation of early, social justice based, short films in the aptly titled Lez be Honest. We are even treating you to a masterclass with the master documentarian herself, presented in partnership with Open City Docs School.

Hot to Trot, dir Gail Freedman.

Continuing with a look at dance, Hot to Trot, Gail Freedman’s delicate portrait of same sex ballroom champions preparing for the Gay Games comes to Europe, and we’ll host a Q&A with the director herself. Following the routines and preparations of a section of professional and romantic same sex partnerings, this intimate record will sweep you up in the rapture of bodily movements that express love, passion and tensions between our dance mavericks.

Paris is Voguing, dir Gabrielle Culand.

Repeat attendees will remember our Vogue strand last year, complete with an English Breakfast London ball, a Kiki discussion on the history and relevance of the scene and art of voguing, and films including Kiki and Strike A Pose which each included valuable images of the expressive and vital scene. This year Fringe! screens a new documentary on a European vogue scene. Paris is Voguing sees Willi Ninja’s words “make the real Paris burn!” come to life through the ferocity and tenacity of its vogue champions. Gabrielle Culand’s document of Paris Ballroom culture seen through the bickering and banter of House Mothers Stephane Mizrahi & Lasseindra Ninja is something you will not want to miss.

Homemade Melodrama, dir Jacqui Duckworth.

With queer feminist curating collective Club des Femmes we take a look back at feminist filmmaker Jacqui Duckworth, whose incredible 16mm works discussed open relationships, ‘sweet dyke revenge’ in the porn industry, multiple sclerosis, identity and coming out were pioneering, years before her premature death in 2005. Curated in her honour, and with a great deal of love and thanks, An Invitation to Jacqui D comes to Fringe! on festival Saturday.

195 Lewis, dir Chanelle Aponte Pearson.

Festival Sunday sees a special event at the Barbican: a screening of Brooklyn web series 195 Lewis by Chanelle Aponte Pearson in full. Getting the lesbian series right has been an occasionally disappointing endeavour, but web-series 195 Lewis is definitely the hottest kid on the block.

From the creators of Revival: Women and the Word and An Oversimplification of Her Beauty (two films chronicling the efforts and grace of strong women), 195 Lewis engages with and reflects our London scenes with its hilariously self-referential art talk, playful explorations of gender and sex, and a genius, blink-and-you’ll-miss-it Bette Porter reference. This is accompanied by shorts including the award-winning We Love Moses by Dionne Edwards, and a panel discussion on QTIPOC representation and successes in film and media.

Upon the Shadow, dir Nada Mezni Hafaiedh.

Don’t miss gems of female achievement earlier in the festival too! Head to Tunisia, where first time director Nada Mezni Hafaiedh’s incredible and heartfelt documentary Upon the Shadow follows former Femen member Amina Sboui and her group of activist friends whose lives hang in the balance and at the whims of nations and border forces. The friends and their matriarch Amina look out at cool blue seas wondering what destinies await them and what forces will impact their futures in this stunning documentary that shines a spotlight on the lifestyles of those members of our global queer community that are still fighting for many of the freedoms we have already inherited.

FLUID0, dir Shu Lea Cheang.

Closing out the festival with a lasting impression (and a palpable climax), moving image artist and provocateur Shu Lea Cheang of Fresh Kill; IKU comes to London to accompany our opening film in its UK premiere, FLUIDØ. This sex-capade from the Taiwanese director concerns a future Berlin, a genderfluid race of ZERO GENs, and a struggle to gain control over the production and exploitation of bodily fluids.

Representations of feminine sexuality range from the DIY to the delicate at this year’s Fringe!

There are so many more gems from female filmmakers in the Fringe! Queer Film & Arts Fest programme that I hope you’ll explore, displaying, expressing and recording tenacity, vivacity and the distinct queer feminine perspective.

Full programme info: fringefilmfest.com

[nofomoartworld]

Hyperallergic: Watch Films by Local Black, Queer Artists at the Brooklyn Museum

Still from Frances Bodomo, “Afronauts” (2014) (screenshot by the author via Vimeo)

In conjunction with its essential exhibition We Wanted a Revolution: Black Radical Women, 1965–85, the Brooklyn Museum is showcasing moving image works in every genre and medium by Brooklyn-based artists who are young, black, queer, female-identified, and gender-nonconforming. The two-hour-and-50-minute film program kicks off this Thursday, June 8, with four screenings throughout the day. The selected films span most imaginable genres and media, from an animated documentary (Carrie Hawks’s autobiographical short “black enuf” from 2016) to a dramedy web series (Chanelle Aponte Pearson’s 195 Lewis) to alternative history sci-fi (Frances Bodomo‘s “Afronauts,” about Zambian exiles competing in the 1960s Space Race).

Curated by the Brooklyn Museum’s Assistant Curator of Public Programs Lauren Argentina Zelaya, the “Black Queer Brooklyn on Film” series takes its inspiration from the Combahee River Collective, a collective of Black feminists formed in 1974, and the manifesto it released in 1977. “[W]e are actively committed to struggling against racial, sexual, heterosexual, and class oppression, and see as our particular task the development of integrated analysis and practice based upon the fact that the major systems of oppression are interlocking,” it read in part. “The synthesis of these oppressions creates the conditions of our lives.”

Accordingly, the film series includes a number of works that address responses to specific systems and mechanisms of oppression. For instance, Isabella Reyes’s “i am light” (2016) shows how individuals reject conventional, binary constructions of gender through fashion, style, and self-expression. Naima Ramos-Chapman’s “And Nothing Happened” (2016) portrays the aftermath of sexual assault from a survivor’s perspective. And Stefani Saintonge’s episode from the Essence documentary series Black Girl Magic, which follows young women as they navigate the foster care system. If you can’t make it this week, don’t worry — the program screens every Thursday through June 29.

When: Thursday, June 8, with screenings at 11am, 2pm, 5pm, and 8pm (free with admission) Where: Brooklyn Museum (200 Eastern Parkway, Prospect Heights, Brooklyn)

More info here.

The post Watch Films by Local Black, Queer Artists at the Brooklyn Museum appeared first on Hyperallergic.

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