Dr. T.J. Tallie: Queered Power Structures, Polygamist Archive Studies and How to Survive the Non-Stop Fiesta of Sadness

If I could shout it from every karaoke bar and academic institution that has ever existed, I would take up ALL THE SPACE yelling and singing about how much my dear friend (and glorious glamour queen) Dr. T.J. Tallie rules.
He has taught me so many things about how to be a better person, historian, activist and friend.

THE GREATEST THING IS THAT AS OF THIS LAST WEEK, THE BOOK THAT WE TALK ABOUT ON THIS PODCAST IS AVAILABLE FOR SALE AND YOU SHOULD ALL BUY ONE!!!!!!!!

The link is right here and it is available on Barnes & Noble and all kinds of online book sellers as well as the one I linked to.
This is what it looks like:

Buy this amazing work!!!

However, my convo with T.J. will be the second to last podcast that I do from the US. I will do one more and then….well, you’ll hear in the next podcast!!

Just check out this truly amazing and fun conversation with one of the greatest young professional minds/academics/historians and Missy Elliot Karaoke Singers of our time. ALSO- NO ONE LOOKS BETTER IN A CAPE OR VICTORIAN COLLAR THAN DR. TALLIE. This is just fact. Trust me on it.

As usual, bio and links under the podcast…

BIO:

T.J. Tallie is an Assistant Professor of History in the Department of History at the University of San Diego. His work focuses on questions of gender, race, colonialism, indigeneity, Africa, and sexuality. He is the author of Queering Colonial Natal: Indigeneity and the Violence of Belonging in Southern Africa. He is from Los Angeles originally and is a sassy unicorn of knowledge and justice.

Links:

https://read.dukeupress.edu/glq/article/3/4/437/9940/Punks-Bulldaggers-and-Welfare-Queens-The-Radical

Mo Henry: Negative Cutting, Orson Welles Restorations & Women’s Power in the Film Industry

Mo Henry!!! Mo Henry!!! She is so cool!

I wish you all could meet her and hang out with her! I hope that you get a good sense of how cool she is from this episode because she really is one of the most fun-to-hang-out-with women I have ever met.

If you had told me that we would end up being friends when I first saw her talk about her work on The Other Side of the Wind, I would’ve doubted you. She’s genuinely amazing, inspirational and….well, we could have gone on for a few hours more with other stories…

So I hope you enjoy this conversation and I hope that you read all the articles that I’m including here because they are AWESOME. Much like the magnificent Mo!

Bio:

Mo Henry is a film negative cutter acclaimed by many as one of the greatest in her field. Her works include franchise film series such as Spiderman, Batman, The Matrix, and Harry Potter, cult classics such as Mulholland Drive, The Big Lebowski, El Mariachi (uncredited) and Apocalypse Now Redux. Mo worked exclusively for many years on Clint Eastwood’s films and on all of Frances Ford Coppola’s restoration projects. More recently, she cut several of Christopher Nolan’s films such as The Dark Knight, The Dark Knight Rises, and Inception.  According to The Internet Movie Database, she has been a negative cutter on over 300 films, although Mo claims IMDB has many inaccuracies, missing many films that she has cut and including her on films on which she was not involved, and her ultimate total far exceeds 300. In addition, she cut a fair number of adult films under the alias Ruby Diamond. Despite her low profile she has amassed a fan base over the years, and many fans are known to stay during the final credits to see if Mo’s name appears.

She is a fourth generation Henry negative cutter, starting at Universal at 19. Her first cut feature film (uncredited) was Jaws, a film she was told (by her boss/father) was likely to be a flop, so he allowed her to train on it as a novice. She took a break from negative cutting to be a real estate agent in Beverly Hills in the eighties (with, as she describes it, “Big Hair and Big Shoulder pads”), and as a production coordinator on television commercials and rock videos.

She is left-handed, which initially made it harder for her to learn to cut negative, however, she says her obsessive-compulsive disorder works to her advantage, as it allows her to remember numbers and because she checks everything repeatedly, she has rarely made a mistake.

Mo is a Los Angeles native and a first generation American on her father’s side of the family, the Henrys having immigrated from Ireland.

LINKS:

https://www.aintitcool.com/node/80117

Chris Bourg: Open Scholarship, Advocacy from the Inside & Code Switching

I’m incredibly excited to welcome Dr. Chris Bourg to Archivist’s Alley. I have been wanting to have her on my show since I started the show and to be honest, as I was editing the show, I realized that I was kinda having her as on which rarely happens! But it makes sense. I really admire her and her work so much so I do apologize if I am a little nonsensical or rambly in this episode but bear with me- I was just very excited about having Chris on.

The usual things apply- bio and links below the podcast and you should definitely follow her social media account and check out her website and writings. Highly recommend. So…enjoy!

Twitter @mchris4duke
Blog: Feral Librarian

Bio:
Chris Bourg is the Director of Libraries at Massachusetts Institute of Technology (MIT), where she also has oversight of the MIT Press. She is also the founding director of the Center for Research on Equitable and Open Scholarship (CREOS). Prior to assuming her role at MIT, Chris worked for 12 years in the Stanford University Libraries, most recently as the Associate University Librarian for Public Services. Before Stanford, she spent 10 years as an active duty U.S. Army officer, including three years on the faculty at the United States Military Academy at West Point.

Chris has extensive experience promoting open scholarship. She is currently co-chair of the MIT Ad Hoc Task Force on Open Access to MIT’s Research, and is a member of the National Academies of Science, Engineering and Medicine Roundtable on Aligning Incentive for Open Science. She is also a member of the Steering Committee of SocArXiv, an open access platform for social science research; a member of the Harvard Board of Overseers Committee to Visit the University Library, and chair of the Management Board of the MIT Press. She has served on the Board of Directors for the Digital Public Library of America (DPLA), and is past chair of the Committee on Diversity and Inclusion of the Association of Research Libraries. In 2016, Chris co-chaired the MIT Ad Hoc Task Force on the Future of Libraries, which produced a bold vision for research libraries in a computational age.

Chris has written and spoken extensively on equitable and open scholarship, the future of research libraries, diversity and inclusion in higher education, and the role libraries play in advancing social justice and democracy. She received her BA from Duke University, her MA from the University of Maryland, and her MA and PhD in sociology from Stanford. 

Heather Buckley: Punk Rock Production & the Preservation of Genre Materials

So very excited to welcome my excellent colleague and friend Heather Buckley to Archivist’s Alley. Not only is she a successful horror film producer but she is a writer, historian and dedicated preservationist who works with a variety of film distribution companies to create additional features on the home releases of various genre films.

I am so thrilled to know her and to be able to have her on the show to discuss issues of genre, collecting and archival work as well as what access means within the world of these valuable materials. Our discussion runs the gamut from her own film productions to exploring our feelings about westerns and masculinity to why genre and “b-films” are just as worthy of preservation and archival treatment as any arthouse or classic silent work.

Dive on in! As usual, the bio and links are below the episode and I HIGHLY SUGGEST checking them out!! There is a LOT of great stuff to read there!!!!


Heather Buckley – Producer |  NYC/NJ/LA- is a graduate of University of the Arts with a graphic design degree and an academic focus on film history and criticism. She worked for thirteen years in the New York advertising world before bringing her creative and story skills into the film world. 
The first feature she produced, Jenn Wexler’s THE RANGER, for Glass Eye Pix and Hood River Entertainment, premiered at SXSW and played numerous festivals on an international run before its limited theatrical release in NYC and LA. THE RANGER was acquired by SHUDDER and is currently available on its streaming platform as well as Amazon Prime.  Heather’s work as a film analyst and journalist spans over a decade, with bylines in VULTURE, DREAD CENTRAL and FANGORIA. Her background in SFX work includes: CIRCUS OF THE DEAD, DEAD STILL (SyFy/Sony) and WE ARE STILL HERE (MPI). 
She is currently a Blu-Ray Special Features Producer having created documentaries for Kino Lorber, Liongate/Vestron, Arrow Films and Shout Factory releases including JOHN CARPENTER’S THE THING, BARTON FINK, THE LONG RIDERS, SAW 10th Anniversary reissue, and ARMY OF DARKNESS
Heather’s background buoyed the marketing on THE RANGER, where Heather took the creative lead on grass roots engagement and social media campaigns.
Heather’s current feature slate includes projects from auteurs that span the spectrum of genre film, exemplary of her attraction to unique stories with strong, detailed visual aesthetics and a clear position in the marketplace.

Follow Heather!!! at:https://facebook.com/joe.spinell.liveshttps://www.instagram.com/_heatherbuckley/https://twitter.com/_HeatherBuckley
INSIDE at the Cannes Film Market:https://variety.com/2019/film/global/cannes-film-market-readies-third-frontieres-genre-platform-1203209691/
THE RANGER is on SHUDDER:https://variety.com/2018/film/global/amc-shudder-sxsw-the-ranger-1202978378/
THE RANGER Vinyl:http://creep-records-store.shoplightspeed.com/the-ranger-original-soundtrack.html
THE RANGER Novelization:http://www.haverhillhouse.com/product/the-ranger-by-ed-kurtz/
THE RANGER T-Shirt:https://atomiccotton.com/product/the-ranger-unisex-t-shirt/

Adam Piron: Media Curation, Format Fetishes & Indigenous Film Language

I could have talked to Adam for HOURS. This was a great conversation! Chatting about the film experience is always my jam but this particular podcast ROCKED. His work at LACMA is inspiring and wonderful and I strongly look to him as a programmer and film professional who balances indigenous work and activism with a real joy and passion for cinema. And that is 100% my kind of person!!

In this episode, Adam and I explore working in the field of film programming/curation (esp in Los Angeles). We focus on ideas of media archiving/preservation, temporality and examining and applying it to media and preservation in a non-hysterical manner. Public perceptions of media formats and the lack of knowledge/education is also a topic before Adam and I explore ideas in and around indigenous film identity, culture and language. DO NOT MISS THIS ONE!! 

All the info on Adam is below the link and trust me- you wanna check it out! He’s cool as hell!!

Adam Piron (Kiowa/Mohawk) is the Assistant Curator for Film at the Los Angeles County Museum of Art (LACMA) and a member of the Sundance Film Festival’s Short Film Programming Team. He is also an Associate Film Programmer for short films at AFI Fest. He currently serves on the Board of Trustees and Programming Committee of the Robert Flaherty Film Seminar, an organization devoted to building community around the moving image and the longest continuously running annual film event in North America devoted to creative non-fiction.

From 2014 to 2017, he served as a Manager for Sundance Institute’s Indigenous Program. He has programmed both features and short films for Film Independent’s LA Film Festival. He has also served on competition juries and panels for film festivals such as the Palm Springs International ShortFest, Hot Springs Film Festival, Art House Convergence, imagineNATIVE Film Festival, Big Sky Documentary Film festival and Maoriland Film Festival. He has served as a mentor for the Whistler Film Festival’s Aboriginal Filmmaker Fellowship and as a NATIVe Partner Representative at the Berlin International Film Festival. He has also guest programmed Indigenous Cinema showcases at the Borscht Film Festival and the Eastern Oregon Film Festival and has also been a reader for Creative Capital.

Follow him on Twitter:@adam_piron