UC Santa Barbara (Video)

2018 Daytime Emmy Winner for best original song and 2015 Daytime Emmy Nominee, Eve Nelson brings her musical alchemy to each project, evidenced by her body of work tackling many genres of music. Working closely with artists has given her music scoring, producing and songwriting a refreshingly new perspective. Series: "Innovator Stories: Creating Something from Nothing" [Business] [Show ID: 34904]

Jenny Du is is the Vice President of Operations at Apeel Sciences, where she is responsible for leading the company’s efforts in Regulatory Affairs & Compliance, Manufacturing, Quality, Supply Chain, Logistics, IT, Facilities and EH&S. Series: "Innovator Stories: Creating Something from Nothing" [Business] [Show ID: 34905]

Diane Flynn is Cofounder and CEO of ReBoot Accel, designing work cultures that support and advance women. ReBoot Accel has assisted over 2500 women interested in resuming careers after time out of the workforce. Series: "Innovator Stories: Creating Something from Nothing" [Business] [Show ID: 34903]

A Q&A featuring director and producer David Elfick, and author and environmentalist Garth Murphy. They are joined by moderator Alexander Champlin in a conversation that covers the production and legacy of the classic surf film Crystal Voyager (1973). Elfick played an instrumental part in the establishment of the New Wave of Australian cinema internationally. Garth Murphy worked with Elfick on the post-production of Crystal Voyager. The Q&A addresses Elfick and Murphy’s work with George Greenough, a legendary surfboard designer and the subject of the documentary. They discuss the production of the film, including acquiring the rights to use Pink Floyd’s "Echoes" in the closing segment of the film. Their conversation also addresses the legacy of Crystal Voyager, in terms of both its historical significance and its groundbreaking style of surf cinematography. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34955]

Scholars Cristina Venegas (UC Santa Barbara) and María Caridad Cumaná (Miami Dade College) discuss the political, literary, and biographical backgrounds of Tomás Guitiérrez Alea’s 1968 classic film Memories of Underdevelopment. While examining the style of the film, Venegas and Cumaná analyze Alea’s skillful adaptation of the plot of Edmundo Desnoes' original 1965 novel as well as the film’s position within Alea’s filmography. They also treat Memories of Underdevelopment's place within the late-60s era of Cuban cultural production and the early-60s era of political tumult. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34956]

Editor Maryann Brandon joins Pollock Theater Director Matt Ryan for a conversation about the process of editing Star Trek (2009). The Star Trek franchise has captured the imagination of audiences for over fifty years using a blend of spacefaring high-adventure and futuristic, utopian themes. In 2009, J.J. Abrams refreshed and extended the series with the series’ eleventh film. Brandon explains what is was like to edit a film that was part of such a beloved franchise, as well as how she maintained her own editing style while staying true to the original series. She discusses the process of manipulating footage and cutting on set, as well as how she shapes each scene around an actor’s performance while maintaining a delicate balance between exposition and effects. She also discusses her professional relationship with Abrams, sharing anecdotes from the sets of both Star Trek and Star Wars: Episode IX – The Rise of Skywalker, which she is currently editing under his direction. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34953]

Professor Michael Berry (Asian Languages and Cultures, UCLA) joins PhD candidate Wesley Jacks (Film and Media Studies, UCSB) for a post-screening conversation about Zhang Yimou’s 1987 film adaptation of Mo Yan’s Pulitzer Prize-winning novel Red Sorghum. Berry explains the legacy of the so-called “Fifth Generation” of Chinese filmmakers including Yimou, and how Red Sorghum’s production during the era following Deng Xiaoping’s 1978 shift to an open door policy resulted in a film that was both uniquely a product of its own time, and subject to less censorship and thematic restriction than other eras of Chinese filmmaking. A milestone adaptation of an important literary text, Berry describes some of the history of Yimou’s work on the project, and how many of the cast and crew involved in Red Sorghum have since gone on to have celebrated careers. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34884]

Director Nishtha Jain joins UCSB’s Bishnupriya Ghosh (English and Global Studies) for a post-screening discussion of her 2012 film Gulabi Gang. The conversation includes Jain’s early career as a documentary filmmaker, the film’s examination of violence against women in India both as a result of the dowry system and a general social devaluation of women, and how she worked with Gulabi Gang leader Sampat Pal on location with individuals that were sometimes reluctant to speak on their own behalf or who felt conflicting familial loyalties. Jain addresses the film’s unusual three-part structure and her desire to let the complexities of the film’s subject shape the structure, rather than the reverse. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34844]

Lucy Fischer (English and Film Studies, University of Pittsburgh) joins Carsey-Wolf Center Director Patrice Petro for a post-screening discussion of Alain Resnais’ 1959 film Hiroshima Mon Amour. Fischer places the film, which features a screenplay by the French novelist Marguerite Duras, in the context of other French New Wave cinema; drawing attention in particular to the juxtaposition of images that are simultaneously fictional and documentary, and to the ways in which Duras’s influence is felt throughout the finished film. Fischer and Petro discuss the critical reaction to the film, as well as its meditation on the nature of memory as one of the first major post-WW II art films. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34843]

Archivist Regina Longo (Brown University) joins UCSB’s Harold Marcuse (Department of History) for a discussion of Claude Lanzmann’s final film Shoah: Four Sisters (2018), a four-part miniseries that was screened over two days at the Pollock Theater. Longo’s work includes extensive restoration of Claude Lanzmann’s landmark documentary footage of testimonials from the Holocaust, and in conversation with Marcuse she offers deeper insight into the history of the film and the women it concerns. Longo explains how Lanzmann’s Shoah was initially funded and produced, how hundreds of hours of footage is being carefully restored from original prints and made available online, and how Four Sisters both influences and is situated in a legacy of film, legal testimony, memoir, and other post-war efforts to represent the un-representable horror of the Shoah. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34842]