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Garrett Bradley Shorts Program

Thu, Oct 17, 2019
  • 7PM
RUN TIME: 67min
MEMBERS: $8 (free for Level 4 and above)
October 2019
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Thursday October 17, 2019
Performances no longer available.
Directed by Garrett Bradley



With Donna Crump, Edward Spots
2019, 30min, DCP


Taking as its starting point the recently rediscovered Bert Williams feature Lime Kiln Club Field Day (1913)—the first known film to feature an all-Black cast—Garrett Bradley’s extraordinary new short imagines an entire lost lineage of African-American cinema, where images of Black joy, strength, and beauty live on forever in a free-floating celluloid dream space. Shot in gorgeously poetic black and white and set to an intricately layered audio collage, America is an ecstatic sensory experience that rewrites our visual history in the name of Black empowerment.

An Aubin Pictures production. Produced by Lauren Domino and Catherine Gund.

The Earth is Humming

2018, 14min


Bradley turns a documentary about the earthquake preparedness industry in Tokyo, Japan into a haunting reflection on the fragility of life in one of the world’s largest metropolises.


2017, 12min


Winner of the Short Film Jury Award at Sundance, this stirringly poetic documentary puts a human face on the ravages of the American carceral state as a conflicted young woman contemplates marrying her imprisoned boyfriend.


2016, 10min


What is the value of social media influence? An investigation into the “click farms” of Bangladesh where a multi-million dollar underground industry thrives on exchanging money for “likes.”

Sardines (Torqued Ellipse by Richard Serra)

2010, 1min


A playful, balletic and quietly haunting study of race and space.

Garrett Bradley
Garrett Bradley

Garrett Bradley’s multimedia work draws together broad themes of oppression and conflict with a particular emphasis on place and location. Across a body of moving-image productions that blend elements of documentary and fiction, cinema and video art, Bradley’s camera situates wider themes in the minute textures of the everyday, exploring her subjects’ struggles and dreams and rooting the sociopolitical in personal and physical experience. Bradley consistently locates her subjects in particular places—frequently her home city of New Orleans—that become sites of a confrontation between personal narratives and larger historical and political ones.

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