To access video clips, please click on the photo. To download transcripts, please click on the PDF links. For a full alphabetical and chronological list of the interviews, please click here. A transcript of each interview is available in full PDF format, which can be viewed with the free Adobe Acrobat Reader. You can see streaming video excerpts of each interview by clicking on the person's photograph.
We have been deeply gratified by the overwhelmingly positive response from the community, but we still have over people waiting to be interviewed. In 8 years, the lesbian and gay movement had gone from deathly fear to master manipulator of the media. McCartney, Marlene. Researchers and activists interested in vaccine history would Actup oral history project as served as those interested in the history of AIDS prevention for Asian gay men. Weinstein, Hentai painful enema. Just click on Interviews.
Battleship arizona model. Biographical/historical
How will I decide what to write and what not Jason paskewitz wife write? Carlomusto, Jean. What can you afford? The Boston Sunday Globe. Please support the Project by making a donation now. The Oral History Project Actup oral history project created to document the work of Historyy UP through interviews with surviving members, and to shed light on the process of making social Actup oral history project. What would I do differently? What of the self-serving motives projfct the story teller? Chicago: Aldine, Be assured!
In addition to creating historical documentation, the project aims to foster dialogue between ACT UP veterans and younger organizers active in the current upwelling of social justice organizing.
- Leo Chiang and Tracy Wares.
- We all have stories to tell, stories we have lived from the inside out.
- The group works to improve the lives of people with AIDS through direct action , medical research, treatment and advocacy, and working to change legislation and public policies.
But now, that lie was being extended beyond the arts to actual history. Instead, the dominant culture simply "came around. I know, I was there. I had seen no mainstream documentation, and that the knowledge of what we achieved was rapidly fading from public memory. Actually, what really took place was this: thousands of people, over many years, dedicated their lives to achieving a cultural and scientific transformation.
I know that people with AIDS, are not just gay. But homophobia was the prototype of the oppression that people with AIDS experienced. Active neglect. Cruel exclusion.
Dehumanizing abandonment. From friends, family, class, job, race, neighborhood, religion, and country. Now, add history. There was little of it. And what does exist was often paltry, and miscomprehending. When I spoke to some of the researchers, I realized that they did not have adequate raw data from which to understand what had occurred.
And that, sadly, many had been trained to not talk to the actual people they were studying in order to find out what those people did. It was completely self-defeating. The cruelty that we were subjected to, and how very very much alone we were. I had to do something to change this. I called Jim. We know how to get things done. Jim and I have a successful working relationship because we each operate on the same system.
I tell him what I am going to do, and then I do it. He tells me what he is going to do and then he does it. It works every time. We had the responsibility and the desire to change it.
We decided to create a raw database of video interviews with surviving members of ACT UP New York, so that they can say what they experienced and created and how they feel about it. This way, basic information on the many many areas of activity that made up ACT UP, its structure, strategies, subculture, its emotional style could all be articulated.
Researchers and activists interested in vaccine history would be as served as those interested in the history of AIDS prevention for Asian gay men. The social universe that ACT UP engaged would be cumulatively available to inspire and inform the future.
They gave us funding for the project, and we started to do the interviews. One by one. It will take us a few years to complete this work, and I look forward to experiencing every step of its growth and development. The way I was raised to think about the Holocaust: documentation, responsibility, truth-telling, identfying perpetrators, refusing revisionism, remembering the names of the murdered, engaging the consequences of cruelty and abandonement, the mass death experience.
All of this legacy is fundamental to my participation in this project. And the energetic willingness of these men and women of ACT UP to give honest, personal, detailed interviews, I think resonates with these themes. Here we are. Here's what we did. Here's how.
Here's why. In our own words. This project represents both a continuation and a radical shift of my work as a filmmaker. I've been making films since At the beginning of the first session, there was a strident and heartfelt minute debate over whether there should be pictures taken at all. On the other side were people who could lose their jobs or their children if their homosexuality became known. I immediately realized that I had to film people for whom the making of images was a life or death issue.
I have been filming the lesbian and gay movement ever since. In , ACT UP emerged not only with the determination to end the AIDS crisis through non-violent civil disobedience, but also with a knowledge and understanding of the mass media that enabled a small group of people to utterly change America's view of AIDS. In 8 years, the lesbian and gay movement had gone from deathly fear to master manipulator of the media.
ACT UP's remarkable success and its notable failures must be documented, explored and analyzed in all its complexity. At that point I had 10 and half hours of videotape and the filmmaker in me said, "How am I ever going to edit all this?
This project will serve as a corrective to that early lack of understanding. Despite this earlier venture into video, the straightforward videotaping of extended interviews utilizing a tripod-bound camera although I am shooting with a second, hand-held camera , feels like a sharp departure from my previous work because, except for that one videotape, my work has all been in film, first in Super-8 and then in 16mm.
Although I filmed demonstrations and other public events, my primary interest was never in simply documenting those happenings, but in discovering the meaning of people's participation in them.
The people we are talking to did vital work and made this a better country. They are heroes of a war that, as the late Vito Russo said, was invisible to those who weren't fighting and dying in it. The purpose of this project is to ensure that their legacy remains and is properly recognized.
Process interviews. We all know the tricks that memory plays on us, even just trying to recall what happened last week. Store the original in a separate place and use only the duplicate. Limit interviews to about one to two hours in length, depending on the fatigue levels of you and your interviewee. Just click on the button that says "Make a Donation" and follow the instructions. Frisch, Michael.
Actup oral history project. Queering JWU
Sarah Schulman was born in New York City in Since , Sarah has been presenting her plays in mainstream theaters in New York and regionally. Active in the Palestine Solidarity Movement. Jim Hubbard has been making films since Along with James Wentzy, he made a 9-part cable access television series based on the Project.
The 8-program series took place December , He lives with Nelson Gonzalez, his lover of 31 years, in New York. Don't Do It! Shoot Art! Memento Mori , 16mm cinemascope, color, sound, 17 min. Two Marches , 16mm, color, sound, 8 min. The Dance , 16mm, color, sound, 8 min. A Valentine For Nelson , 16mm, color, sound, 5 min.
Speak for Yourself , video, 30 min. Elegy in the Streets , 16mm, color, silent, 30 min. My Father's Hotel , 16mm, color, silent, 5 min.
Home , 16mm, color, silent, 11 min. March On! Stop the Movie Cruising , Super-8, color, silent, 14 min.