User:Starprincess2013/sandbox

Amy Greenfield (born July 8, 1950 in Boston, Massachusetts)is a filmmaker, performer, producer, poet, and writer in New York City. She is best known for being the creator of the cine-dance genre of film, a form of dance performance specifically in motion picture[6], as well as a pioneer of experimental film and photography, focusing on feminist and nude themes.[7]

Contents 1	Work 2	Responses 3	Citations 4	External links

Work[edit source] Amy Greenfield is a graduate of Harvard University. In the 1960's, before her work in film and video, Greenfield was a dancer and choreographer, and had performed and been recorded in several projects, launching her interest in dance film and cinematography. She started her film career with the release of a self-directed, color, silent film in 1970 titled Encounter.[7]

Greenfield has directed, produced, edited, and performed in more than thirty films, featuring holographic moving sculpture, live multimedia, and video installations. Her award-winning work has been screened at the Museum of Modern Art; The Whitney Museum of American Art; American Museum of the Moving Image; Anthology Film Archives; Lincoln Center; National Film Theatre of London; the Hayward Gallery, London; the Munich Film Archive; Harvard Film Archives; the Kennedy Center and at international film festivals from Argentina to Japan, including the Berlin, London, Edinburgh, New York, Denver, Dance on Camera, Bologna, São Paulo, winning top prizes at the Houston, Atlanta, Williamsburg, Athens Greece Film Festivals. In 2007 she was honored by the National Gallery of Art, Washington DC in Cine-Dance in America, from Thomas Edison’s 1894 Annabelle to Greenfield’s 2002 Wildfire.

Her experimental feature film, Antigone/Rites Of Passion premiered at the Berlin Film Festival, and has screened internationally, including the 2004 Athens pre-Olympics celebrations; was a prize winner at the American Film Festival. The film is now distributed by Alive Mind Cinema, and is taught in colleges, universities, and high schools across the US. Her live multimedia garnered a New York Times 10 Best in Arts and Entertainment.

Her moving holographic sculptures are in the collection of the Museum of Holography. Her video and holography installations have been exhibited at the Hayward Gallery, London; PS 122 Art Space, Queens, NY; The Kitchen Center for Video, Music and Dance, The Franklin Institute, Philadelphia, The National Science Museum of Canada, and more.

Last season her major new live multimedia work, Spirit in The Flesh was presented at Symphony Space in New York (“Cosmic female energy.” AM New York). And she was featured film-maker in the first Biennial of Women in The Arts. This season her work is being shown from Williamsburg, Brooklyn to Barcelona, Spain, from the Institute of Contemporary Art in Philadelphia to the Scope Madrid Art Fair. She is now developing Spirit In The Flesh into a film. Her film and videos are distributed by Canyon Cinema in the US, and Collectif Jeune Cinema in Europe.

Along with Film and video, Greenfield is an established poet and writer, as her career in this field began before her start in the creation of cinema in the 1970's. Her poetry book, We Too Are Alive, was carried by Barnes & Noble stores after 9/11. Her poems have been published in inter-national literary journals. She edited FilmDance, with her seminal article, “Filmdance: Space;Time;Energy,” and has written feature articles on film for Film Comment and more.

Responses[edit source] Amy Greenfield has been honored for her contributions to the arts by the Fulbright Foundation and Harvard University, and has received grants and fellowships from the National Endowment for the Arts, The Rockefeller Foundation, The New York Foundation for the Arts, The Jerome Foundation, The Council On The Arts And Humanities of Staten Island, and David Rockefeller, Jr..

In February 2010, YouTube removed the videos "Element" and "Tides" from its service claiming Greenfield's videos were a violation to its community standards regarding nudity. Both The National Coalition Against Censorship and the Electronic Frontier Foundation intervened in support of Greenfield, citing the credibility of her work due to past collaboration and film screenings with the National Gallery of Art and the Museum of Modern Art. Her videos were re-uploaded to YouTube's platform as a result. [1]

Citations[edit source] 1. Milian, Mark (February 26, 2010). "YouTube reconsiders removal of artistic nudity". Technology. New York Times. Retrieved 28 February 2010.

2.Biography at Western Connecticut State University, Missy Briggs, 2006. Accessed February 2010

3.Elder, R. Bruce (1997). Body of vision: representations of the body in recent film and poetry. Wilfrid Laurier University Press. p. 294. ISBN 0-88920-276-1.

4.Blaetz, Robin (2007). Women's experimental cinema: critical frameworks. Duke University Press. p. 152. ISBN 978-0-8223-4044-7.

5.Dixon, Wheeler W. (1997). The exploding eye: a re-visionary history of 1960s American experimental cinema. SUNY Press. p. 72. ISBN 0-7914-3566-0.

6.“Cinedance.” Merriam-Webster.com Dictionary, Merriam-Webster, https://www.merriam-webster.com/dictionary/cinedance. Accessed 17 Aug. 2021.

7.Haller, Robert A. Flesh into Light: The Films of Amy Greenfield. Intellect, 2012.

8.Greenfield, Amy. Filmdance, 1890s–1983. New York: Experimental Intermedia Foundation, 1983.