Where does your money come from?
posted: August 20, 2008
The MAP is actively seeking funds. Like most
non-profits, we rely on the graciousness of private donors, grant organizations, and corporate sponsors. If you don't have money but would like
to provide in-kind contributions, please contact us about volunteering or physical support.
Can the MAP take my donation?
posted: August 20, 2008
Yes. We are a 501(c)3 non-profit, so your donations are tax
deductible.
You may click on our donate button on the front page to use your credit card. Please send checks payable to the
Media Arts Project to PO Box 646, Asheville, NC, 28802.
The Media Arts Project New Website
posted: August 20, 2008
The MAP needs a new website! The MAP is looking for
the right person or company that can design an innovative and creative site for our organization. Please read the RFI and direct any questions to
director@themap.org before the deadline. Deadline: Wednesday 5PM January 9, 2008.
Southern Circuit: Socheata Poeuv's New Year Baby
posted: August 20, 2008
The Media Arts
Project (MAP) presents Socheata Poeuv as part of the Southern Circuit tour of independent filmmakers.
New Year Baby will
screen Wednesday, February 6th at the Fine Arts Theatre downtown at 7 PM.
A discussion with the filmmaker will
follow the screening.
This event is $5 for non-students and free to UNCA and WCU students with ID.
Socheata Poeuv was born in a Thai refugee camp on Cambodian New Year.Each member of the family is a survivor of the Khmer Rouge
genocide in Cambodia, smuggled to Thailand by Poeuv’s father before the family immigrated to the United States.
In her
captivating debut documentary, New Year Baby, Poeuv and her brother travel with their parents back to Cambodia to reconnect with their
past.In this very personal and powerful film, she unveils the enormity of the Cambodian genocide and interviews the generals of Pol Pot’s
Khmer Rouge who never faced prosecution.
Socheata made her filmmaking debut with the feature documentary NEW YEAR
BABY which won the 'Movies That Matter' human rights cinema award (an Amnesty International initiative) on its premiere at the 2006
International Documentary Film Festival Amsterdam.
NEW YEAR BABY is also slated for national PBS broadcast on
Independent Lens in 2008. She is working with several international organizations to take NEW YEAR BABY to conflict and post-conflict
cities around the world.
She left NBC News Dateline in 2007 and previously was on staff with ABC News World News Tonight
Weekend and NBC News TODAY.
She also co-founded Broken English Productions in New York City and has written for City
Limits Magazine, the Daily Hampshire Gazette, DisOriented and the Open Society Justice Initiative. She has spoken at United Nations, both Yale
Law & Divinity Schools, Northwestern Law School, the Harvard Kennedy School and UCLA among others.
Her newest project
is creating Khmer Legacies, a visual history project with the goal of videotaping 10,000 Cambodian genocide survivors while interviewed by their
children.
Socheata is a 2007 Echoing Green Fellow and a Visiting Fellow at the Yale Genocide Studies Program at the MacMillan Center for
International and Area Studies.
Socheata graduated cum laude with a B.A. from Smith College in 2002 and studied one year at Hertford College,
Oxford.
Southern Circuit: Cathy Crane's Unoccupied Zone: The Impossible Life of Simone Weil
posted: August 20, 2008
The Media Arts Project (MAP) presents Cathy Crane as part of the Southern Circuit tour of
independent filmmakers.
April 09, 2008
7 PM, The Fine Arts Theatre Unoccupied Zone: The Impossible
Life of Simone Weil
This event is $5 for non-students and free to UNCA and WCU students with ID.
This
portrait is not simply an account of Simone Weil’s life, but rather the skein of her ideas.
The film, shot in 16mm
black-and-white, stages the “theatre” of her mind through a mise-en-scene whose rear screen projections of live-feed video and
archival newsreels antagonize the spectacle of biographical reconstruction being played out by actors before it. The screen serves to distance
the viewer from the fiction of fact while also representing Weil’s own definition of a human life as “a composition on several
planes.”