https://baezasophiasatchell.cargo.site Sophia Satchell Baeza Tue, 21 Nov 2023 12:27:21 +0000 https://baezasophiasatchell.cargo.site en https://baezasophiasatchell.cargo.site/Programming Tue, 21 Nov 2023 12:27:21 +0000 Sophia Satchell Baeza https://baezasophiasatchell.cargo.site/Programming Curation Sensual Laboratories (Open City Documentary Festival, ICA, 16 April 2026)As a form of live multimedia performance revolving around projected light, the light show is by nature ephemeral. These one-off events are dependent on chance encounters: between inks, dyes and other substances; a mobile audience, and various modes of performance – from music, theatre or dance to the real-time projection of film loops and other still and moving-image formats. As a result, light shows are often filmed to document a transient practice as well as generate new imagery that can be remixed and cast back into films, happenings, and future performances. &nbsp;This programme opens with a selection of glass slide transparencies made in the late 1940s by the American painter and experimental film pioneer Sara Kathryn Arledge. Because glass is fragile and projectors heavy to lug around, Arledge later made several 16mm films from her hand-painted slides, which she called her “stabiles.” But not all of the works in this program are documents of performances or attempt to translate the live event onto film and video. The gloopy, amoebic forms of the liquid light show make their way into psychedelic intertitles, become the source material for vivid video effects, or are layered and superimposed to create abstract art works for multiple-projection environments at rock festivals, intermedia nightclubs, and arts labs. Curated by Sophia Satchell-Baeza, this programme focuses on British and North American work from the 1960s and 1970s, bringing together early films by Barbara Hammer, John Smith, Jud Yalkut, Jerry Abrams, Scott Bartlett, and Mark Boyle and Joan Hills. Many of these artists merged film into their light shows, turned their light shows into films, or saw their work as part of a wider lineage of abstract and expanded cinema. Whether experimenting with colour theory or exploring free love and visionary perception, the films engage with strategies of sensory immersion and celebrate spontaneity and play. The evanescent practice of light projection is here revived and reanimated for the present. With an introduction by Sophia Satchell-Baeza. Followed by a panel discussion with Jarvis Cocker and John Smith. Programme - A Selection of Glass Slide Transparencies (Sara Kathryn Arledge, USA 2019), 10 mins &nbsp;- O What A Lovely Whore (Mark Boyle, UK 1965), 5 mins&nbsp;- Chromoprobe (Mark Boyle/Sensual Laboratory, UK 1967), 5 mins - D.M.T. (Jud Yalkut, USA 1966), 3 mins, 16mm&nbsp;- Be-In (Jerry Abrams, USA 1967), 7 mins, 16mm- Eyetoon (Jerry Abrams, USA 1968, 8 mins), 16mm&nbsp;- OffOn (Scott Bartlett, USA 1968), 9 mins, 16mm- Contribution to Light (Barbara Hammer, USA 1968), 4 mins- Aldebaran Sees (Barbara Hammer, USA 1969), 3 mins- Triangles (John Smith, UK 1972), 3 mins- Someone Moving (John Smith, UK 1973), 5 mins- Interior Garden II (Sara Kathryn Arledge, USA 1978), 8 mins - Making OffOn (Scott Bartlett and Cynthia Hagens, USA 1981), 10 mins. Games We Play (The Beursschouwburg, Brussels, 18 June 2025)A program of experimental films for children and their carers, curated for Elephy Presents Thinking Collectively - Mother Artists.- Children’s Game #1: Caracoles (Francis Alÿs, 1999), 6 mins - Pas de panique, les cromagnons sont là (Atelier Graphoui, 1986), 12 mins- Children’s Game #31: Slakken (Francis Alÿs, 2021), 6 mins- The Breathing Lesson (Dora Garcia, 2001), 6 mins- Jump (Shelly Silver, 1994), 1 min 14- A Day for Cake and Accidents (Jessie Mott, Steve Reinke, 2012), 4 mins.&nbsp; Cinematic Exorcisms from the Dark Side of the 1970s (The Horse Hospital, 29 June 2024)Shot over a few days in an abandoned mansion with performer Suzanka Fraey, the rarely-screened film Lilford Hall (1969) has Penny Slinger and Peter Whitehead collaboratively documenting the erotic and psychic intimacy between the artists in a haunting work of dark surrealism that seeks to exorcise the unspoken and taboo. This unfinished film, shown here in the full 1 hour and 20 minute cut, uses the grand and decaying estate as a Gothic stage-set for its investigation into self, desire, and the psyche. Lilford Hall will be accompanied by a live score by dark ambient noise group, The Begotten. Ahead of an immersive exhibition of her Exorcism project at Richard Saltoun gallery, titled Exorcism Inside Out, visionary surrealist artist Penny Slinger will join us for an on-stage discussion and short reading from her celebrated book of photo-collage, An Exorcism: A Photo Romance (1977). Photographed at Lilford Hall during the making of the film, An Exorcism has been republished by Fulgur Press in a new expanded edition with text, and copies of the book will be on sale on the night.A Cinematic Exorcism is curated by Sophia Satchell-Baeza and William Fowler. Falling Lessons: The Films of Amy Halpern (Open City Documentary Festival, Institute of Contemporary Arts and Close-up Cinema, 26 and 28 April 2024) A perennial and dynamic presence in American avant-garde circles from New York to Los Angeles, Amy Halpern (1953–2022) remained dedicated to probing cinema’s special capacity to heighten perception and reveal ephemeral states of consciousness. Though her films may appear dream-like, they are designed, as she once put it, to render what it is like to be truly lucid and awake, experiencing reality in its fullness. Informed by a profound awareness of the world around her, Halpern’s rich, associative films invite us to savour the everyday in their devoted study of gesture, light, ritual, movement, and the mesmerising intensity of the gaze. Ranging from avant-garde portraiture to rapturous surveys of animal and substances engaged in constant cycles of change, Halpern’s empathetic, non-anthropocentric cinema also exudes a fierce commitment to anti-racism and a keen distrust of authority, instead invoking solidarity and individual and collective transformation. This dual programme presents a series of short films made over the course of more than three decades, almost all of which are on 16mm, as well as her only feature-length film, the monumental Falling Lessons, which is being presented here for the first time in the UK. “Falling Lessons: The Films of Amy Halpern” is curated by Sophia Satchell-Baeza and presented in association with Sisters of the Extreme. Programme 1:- Access to the View (Amy Halpern, USA, 2000, 2', 16mm, sound)- Cheshire Cat (Halpern, USA, 2012, 5', 16mm, sound)- Ginko Yellow (Halpern, USA, 2022, 5', 16mm, silent)- Hula (Halpern, USA, 2022, 6', 16mm, sound)- Jane Looking (Halpern, USA, 2020, 2', 16mm, silent)- #27 (Halpern, USA, 2019, 3', 16mm, silent)- My Dear Evaporant (Halpern, USA, 2022, 5', 16mm, silent)- Chabrot (Halpern, USA, 2022, 3', 16mm, sound)- Three Minute Hells (Halpern, USA, 2012, 14', 16mm, sound)- Unowned Luxuries #3 (Halpern, USA, 2020, 2', 16mm, silent)- Elixir (Halpern, USA, 2012, 7', 16mm, silent)- Cigarette Burn (Halpern, USA, 1978, 7', 16mm, silent)- Emit a Beam, See a Light (Halpern, USA, 2022, 3', 16mm, sound)- Vezalay Curtains (Halpern, USA, 2019, 4', digital, sound) Programme 2:- Injury on a Theme (Halpern, USA, 2010, 7', 16mm, sound) - Falling Lessons (Halpern, USA, 1992, 64', 16mm, sound) With an introduction by Kathryn Siegel. <img width="1934" height="1166" width_o="1934" height_o="1166" data-src="https://freight.cargo.site/t/original/i/2c8c2120a18e4579cdd9c141994ae2195ae30bd28b6eac861e8f60ef1b2b6cb4/Screenshot-2026-02-28-at-08.00.29.png" data-mid="245419233" border="0" src="https://freight.cargo.site/w/1000/i/2c8c2120a18e4579cdd9c141994ae2195ae30bd28b6eac861e8f60ef1b2b6cb4/Screenshot-2026-02-28-at-08.00.29.png" />Jane Arden: Explode the Language (British Film Institute, 9 September 2023) At the vanguard of second-wave feminism, visionary radical creative Jane Arden progressed from acting and writing to directing experimental films that confront the limits of the self and patriarchal power. In this special afternoon, guests speakers discuss Arden’s life, ideas and legacy alongside extracts of early acting roles, rare TV interviews and a screening of her 1965 TV play The Logic Game, newly scanned by the BBC and not seen for decades, possibly not since its original broadcast. Thought to be the only woman director to solely direct a feature film in 1970s Britain, her fearless work took various shapes and dug deep from the wells of anti-psychiatry, psychodrama, psychedelia and experimental therapy workshop sessions in a bid to confront the limits of patriarchal power and the self. We also hear from a panel of speakers that includes Dr. Sophia Satchell-Baeza, Charlotte Procter (archivist and curator, LUX and Cinenova) and Dr. Tim Snelson (Demons of the Mind project). Extracts from early film roles from the 1940s are introduced by Arden's son and collaborator Sebastian Saville. For the second part, we will screen The Other Side of the Underneath, a profoundly radical document of counter-cultural thinking that pushes the limits of participatory art-making and authentic interpersonal connection. This will be followed by a discussion with original workshop participants Penny Slinger (pre-recorded) and Natasha Morgan, led by Sophia Satchell-Baeza. <img width="924" height="666" width_o="924" height_o="666" data-src="https://freight.cargo.site/t/original/i/6fcb89bcdeef2be09ce3afaf5a7e0568f74de4cb27ab9ed592c258f139f3dbab/Screenshot-2023-11-15-at-14.35.21.png" data-mid="244040845" border="0" src="https://freight.cargo.site/w/924/i/6fcb89bcdeef2be09ce3afaf5a7e0568f74de4cb27ab9ed592c258f139f3dbab/Screenshot-2023-11-15-at-14.35.21.png" /> Sisters of the Extreme (Tyneside Cinema, 23 January 2020)Avant-garde filmmakers have long explored the potential of cinema to afford a visionary experience, exploring the affinities of film with trance, ritual, dream and memory, testing the play of light on the depths of the subconscious. Curators Kathryn Siegel and Sophia Satchell-Baeza’s programme Sisters of the Extreme brings together a series of films by women from the 1960s to the present day, concentrating on work that shares an occult sensibility and a concern with film’s potential to render heightened mental states, from the meditative to the ecstatic. From films which harness the darkness of the cinema space as substance, such as Amy Halpern’s Invocation (1982), to magic and colour games in Storm de Hirsch’s rarely-screened trilogy The Color of Ritual, The Color of Thought (1964-1967), the programme moves towards the more personal, at times frightening vision of Betzy Bromberg’s exploration of life and death, love and loss, Az Iz (1983). Selected from the Projections Open Call. Programme: - Shaman, A Tapestry for Sorcerers (Storm de Hirsch, USA, 1966, 12', 16mm)- Az Iz (Betzy Bromberg, USA, 1983, 37', 16mm)- Peyote Queen (Storm de Hirsch, USA, 1965, 9', 16mm)- Elixir (Amy Halpern, USA, 2012, 7', 16mm)- Divinations (Storm de Hirsch, USA, 1964, 5'05, 16mm)- Invocation (Amy Halpern, USA, 1982, 2', 16mm) <img width="3968" height="2976" width_o="3968" height_o="2976" data-src="https://freight.cargo.site/t/original/i/57e0183edf2975d7d0bb5c8e3fa1d824f9c1ba5182ece728e46496fe8661ab4c/IMG_20181021_190340.jpg" data-mid="244040869" border="0" src="https://freight.cargo.site/w/1000/i/57e0183edf2975d7d0bb5c8e3fa1d824f9c1ba5182ece728e46496fe8661ab4c/IMG_20181021_190340.jpg" /> SPECTRAL/OLFACTORY (GHOST, Guest Projects, 21 October 2018)SPECTRAL/OLFACTORY is a projection-based performance lecture I produced in collaboration with Bardo Light Show and SonicSoul. This was produced for GHOST, a multidisciplinary month-long programme of events and exhibition at Guest Projects, Yinka Shonibare’s London residency space. Partly inspired by Brian Eno’s lecture on perfume, the lecture explores the role of synaesthesia across a range of artistic and countercultural practices. Interspersed with readings from personal “sense logs,” the performance was animated by liquid colour projections by Bardo Light Show, concrete mandala imagery by tie-dye artist Courtenay Pollock (The Grateful Dead), and an immersive soundscape by sound artist and gong practitioner SonicSoul. Women of the Counterculture (Regent Street Cinema, 25 April 2018)In collaboration with the Peter Whitehead Archive and Dr. Alissa Clarke, I co-produced an event focused on reevaluating women's contributions to the counterculture. Emphasising the range of women’s voices, practices and perspectives, this event involved a panel discussion, performance work by DMU postgraduate students, and a rare screening of the feature film Dope (Sheldon and Diane Rochlin, 1968) The panel discussion featured: key countercultural figure, English Boy model and Whitehead collaborator, Jenny Spires; singer-songwriter Carol Grimes; Jill Drower, writer and artist in the performance art collective, The Exploding Galaxy, and legendary British folk singer and activist Julie Felix, who performed “Needle of Death” live.Projecting Psychedelia (Regent Street Cinema, 5 April 2018)I curated a film program at Regent Street Cinema in collaboration with the Peter Whitehead Archive, next door to where the band Pink Floyd first formed. Billed as an evening of surprises with British underground filmmakers Antony Stern and Kevin Whitney, it included Stern’s short experimental film San Francisco (1968), which used the first recording of Pink Floyd’s legendary “Interstellar Overdrive” as its soundtrack. Whitney’s split-screen film Psychedelia includes rare footage of Syd Barrett in 1968 and Red/Green plays with the visual potential of moving coloured light priojections. Whitney’s Psychedelia was accompanied by a live performance from London space-punk band CuT and there was a chance to try the effects of the Lucia No 3 hypnagogic light machine. &nbsp;Hipgnostic presents: Sisters of the Extreme film night (The Horse Hospital, 11 September 2014) The dark hallucinations of Sixties London’s drug scene come to the fore in this unreleased cult feature documentary by film-makers Diane (now Flame Schon) and Sheldon Rochlin. Once dubbed “more underground than the underground”, Dope (1968) remains as controversial as when it first screened, and follows a young New Zealand girl’s descent into heroin addiction. Appearing like the dark twin to Peter Whitehead’s Tonite Let’s All Make Love in London (1967), this experimental documentary chronicles the daily life of a young woman against the swinging backdrop of London’s psychedelic UFO club, the countercultural bookshop Better Books, and the drugs counter at Boots. After the film’s screening at the Locarno film festival in 1968, Variety described it as “a rugged documentary with revealing insights into the sad, touching, downbeat and sometimes tender drug scene”. Featuring artists and legends including Marianne Faithful talking about poppers, the Australian mystical painter Vali Myers, and Donovan, Dope is a fascinating insight into the dark underbelly of London’s late Sixties counterculture. Plus Anthony Stern's Iggy the Eskimo Girl (1968). Benefit night for the Horse Hospital. <img width="902" height="672" width_o="902" height_o="672" data-src="https://freight.cargo.site/t/original/i/5c5a07f88a85ad13b543513c167deccab0222418d078a563bbe81e940e432139/Screenshot-2026-01-27-at-12.00.42.png" data-mid="244040865" border="0" src="https://freight.cargo.site/w/902/i/5c5a07f88a85ad13b543513c167deccab0222418d078a563bbe81e940e432139/Screenshot-2026-01-27-at-12.00.42.png" /> <img width="686" height="614" width_o="686" height_o="614" data-src="https://freight.cargo.site/t/original/i/b260cee1eb26ac6b28dc0437d44ada0f339f22bfe9da87fbeb1464934079b35a/Screenshot-2022-10-05-at-14.17.02.png" data-mid="244040867" border="0" src="https://freight.cargo.site/w/686/i/b260cee1eb26ac6b28dc0437d44ada0f339f22bfe9da87fbeb1464934079b35a/Screenshot-2022-10-05-at-14.17.02.png" /> <img width="1660" height="1666" width_o="1660" height_o="1666" data-src="https://freight.cargo.site/t/original/i/78a6de549de8a926c4d98e776a5c5cdd2cd96288d6bd0f8237ff144dc8f6a207/Screenshot-2026-01-28-at-06.21.10.png" data-mid="244066909" border="0" src="https://freight.cargo.site/w/1000/i/78a6de549de8a926c4d98e776a5c5cdd2cd96288d6bd0f8237ff144dc8f6a207/Screenshot-2026-01-28-at-06.21.10.png" /><img width="1072" height="1440" width_o="1072" height_o="1440" data-src="https://freight.cargo.site/t/original/i/fb761b6cd7ad7ae27cd3d99c74743ac52c19ecb5b8956cd693e64bfd8440f049/Screenshot-2023-07-28-at-16.13.22.png" data-mid="244066910" border="0" src="https://freight.cargo.site/w/1000/i/fb761b6cd7ad7ae27cd3d99c74743ac52c19ecb5b8956cd693e64bfd8440f049/Screenshot-2023-07-28-at-16.13.22.png" /> https://baezasophiasatchell.cargo.site/Home Tue, 11 Jul 2023 13:20:13 +0000 Sophia Satchell Baeza https://baezasophiasatchell.cargo.site/Home ¡Hola! I am an arts writer, editor, lecturer and film curator.I write regularly for Sight &amp; Sound and I’m a member of the Critics’ Circle and the British Art Network. My writing has also appeared in ArtReview, &nbsp;Another Gaze, Alt/Kino,&nbsp;AnOther Man, BFI Online, Curzon Journal,&nbsp;Elephant, i-D, The Quietus, Notebook, Sleek, Time Out,&nbsp;Ultra Dogme,&nbsp;VICE, Wonderland, and in various film-related books, academic journals, exhibition catalogues, and trade publications. I hold a doctorate in Film Studies from King’s College London, with a particular research interest in the connection between light shows, intermediality, experimental film and psychedelic art: the subject of my upcoming monograph. As a freelance film curator, I have programmed screenings for the British Film Institute, Open City Documentary Festival, Tyneside Cinema, Regent Street Cinema, The Horse Hospital, The Beursschouwburg (Brussels), Eye Film Museum (Amsterdam), Joe’s Garage (Amsterdam), and Mint Collective (Marrakesh). I’ve participated in a wide range of cultural events, workshops, and symposia at venues including Guest Projects, The Royal Albert Hall, Close-Up Cinema, the Garden Cinema, Onoma Gallery (Fiskars, Finland), Muse Gallery, Rich Mix, the Slovenian Cinematheque (Ljubljana), Wolverhampton Art Gallery, and the Institute of Contemporary Arts. I have taken part in multimedia environments, artist collectives, and residencies including Fiskars Artist Residency (Finland, 2024), M.A.M.A. Residency (Marrakesh, 2024), and State O Research Residency at Flat Time House (London, 2014).&nbsp; &nbsp;I’ve worked as an editor for La Furia Umana, MUBI, and Another Gaze Editions. I was previously Senior Managing Editor at MUBI, Contributing Editor of&nbsp;Notebook (issues 5-9), Contributing Editor of Notebook broadsheet and Editorial Manager of the Companions zines. A native Spanish speaker of British, Spanish and New Zealand heritage, I’ve done on-stage/written translation work for MUBI, Curzon, and Wotever Film Festival. For any questions or commissions, you can get in contact at ssatchellbaeza [@] yahoo.co.uk.&nbsp; <img width="1476" height="2344" width_o="1476" height_o="2344" data-src="https://freight.cargo.site/t/original/i/9c4c86e3d1821f0a1f4a26fdae1018e306918209b0d05caa2a165df779c67a12/Author-Portrait---Lorena-Lohr.jpg" data-mid="244022888" border="0" src="https://freight.cargo.site/w/1000/i/9c4c86e3d1821f0a1f4a26fdae1018e306918209b0d05caa2a165df779c67a12/Author-Portrait---Lorena-Lohr.jpg" /> Photograph by Lorena Lohr https://baezasophiasatchell.cargo.site/Writing Wed, 12 Jul 2023 13:56:09 +0000 Sophia Satchell Baeza https://baezasophiasatchell.cargo.site/Writing Selected Writing Books/ Journals Sensual Laboratories: Light Shows, Experimental Film and Psychedelic Art. Forthcoming with Strange Attractor Press. Playing Games in the Playrooms of Stephen Dwoskin’s 1970s Counterculture. Forthcoming in a BFI book on Stephen Dwoskin. Monkey’s Birthday (1975): Digression and self-othering on the hippie trail. Moving Image Review &amp; Art Journal,&nbsp;13.1/2, December 2024, pp. 32-44, link.&nbsp; Psychedelic psychodrama: Raising and expanding consciousness in Jane Arden’s The Other Side of the Underneath (1973), History of Human Sciences Journal, Volume 34, Issue 5, 21 June 2021, link. Panic at the Disco: Brainwashing, Alienation and the Discotheque in Swinging London Films, in Sixties British Cinema Reconsidered, edited by Duncan Petrie, Melanie Williams and Laura Mayne (Edinburgh: Edinburgh University Press, 2020), 239-254. 1968 and its Legacies, or, the Historiohappening and Beyond, Mediapolis: A Journal of Cities and Culture, 28 August 2018, link. With Dr. Mark Broughton.Fuzz Death Ballet: Performance, Projections and Protest in the British Counterculture Before 1968, in The Resistance-Image: Militant Documentary on the Battlefields of May ’68 (Ljubljana: Slovenian Cinemateque, 2019). Incision to Incite: Notes on Broken Tongue and the Radical Implications of Collage, La Furia Umana, 15 May 2015. Interview with Kelly Gallagher,&nbsp;La Furia Umana, Issue 9, 2015. Transparent Materials through which Light Passes: An Interview with Anthony Stern, La Furia Umana, No. 21, 2011. Artists’ Film Biennial, ICA 2014, NECSUS Journal, Autumn 2015. Liner Notes/Programming TextsLessons in Patient Dissent, Open City Documentary Festival 2026. On&nbsp;Maureen Fazendeiro‘s&nbsp;As Estações and&nbsp;Ann Carolin Renninger and René Frölke’s To the left of the fir tree. After Birth: On Josephine Ahnelt’s Waves Turn (2025). For Alchemy Film and Moving Image Festival 2026. Naples is a Time Machine,&nbsp;Pompei: Below the Clouds MUBI Companion Zine, February 2026. On Verticality in Falling Lessons (1992), The Machine that Kills Bad People program notes, September 2025, link. The Samsara Experience, Curzon Journal, 18 January 2024, link. Waking the Witch, MUBI Program Notes for Elizabeth Sankey’s Witches. Selected Reviews, Features, Film Festival Coverage On Robina Rose’s Nightshift (1981), Another Gaze: A Feminist Film Journal, 10 March 2026, link.Cinematic Sorcery in the Scottish Borders, Sight and Sound, Vol 35: 6, Summer 2025. Coverage of Alchemy Film and Moving Image Festival 2025. Brain Movies, Notebook, Issue 7: Threshold of the Visible, June 2025.Sex Workers Deserve a New Story, ArtReview, 11 June 2025, link. On a retrospective of Ayanna Dozier’s films at Berwick Film &amp; Media Arts Festival. Children Make Movies, Notebook, 7 May 2025, link.Bridget Jones: Mad About the Boy: comedy is absent from Bridget’s return, BFI Online, 21 February 2025, link. What is RaMell Ross Looking For? ArtReview, 17 January 2025, link. Favoriten, BFI Online, 5 December 2024, link. The Taste of Mango, BFI Online, 22 November 2024, link. Reviews of Emilia Pérez, link, and Lee, link,&nbsp;Sight &amp; Sound, November 2024. ‘Fathom Hell, Soar Angelic’: Are Immersive Art Shows Short-Circuiting Transcendence? ArtReview, 20 August 2024, link. Scores of the Century, Sight &amp; Sound, August 2024. Experimental Film is For Babies, ArtReview, 19 June 2024, link. Lost and Found: Andre Cayatte’s The Pleasure Pit;&nbsp;a review of Orlando, My Political Biography, link, and a short feature on Teddy Boys and Girls in Cinema.&nbsp;Sight and Sound, June 2024.&nbsp; Rediscovered: Black Zero, Sight &amp; Sound, April 2024. A feature on Stephen Broomer’s Blu-ray label that releases Canadian avant-garde films. The Disappearance of Shere Hite, Sight &amp; Sound, 11 January 2023, link. Lost and Found: Niki de Saint Phalle and Peter Whitehead’s Daddy, Sight &amp; Sound, October 2023. Endings: Midnight Cowboy, Sight &amp; Sound, November 2023. 20,000 Species of Bees, Sight &amp; Sound, 24 October 2023, link. Heaven and hell on earth: The films of the Ormond Family, Sight &amp; Sound, 2 October 2023, link. A Cinema of Fluid Forms: Five Films by Ellie Epp, Ultra Dogme, August 2023, link. The Cemetery of Cinema: A Berlinale Forum Expanded Dispatch, Notebook, 20 March 2023, link. Blood and Guts in High School: An Interview with Jennifer Reeder, Notebook, 9 March 2023, link. Being in a Place: an allusive, pleasingly fluid portrait of Margaret Tait, BFI Online, 6 March 2023, link. Rediscovery: Barbara Rubin, Sight &amp; Sound, March 2023. Luminous Procuress, Sight &amp; Sound, Summer 2022. El Mar La Mar, Sight &amp; Sound, Winter 2022-2023. Rediscovery: House of Psychotic Women Rarities Collection, Sight &amp; Sound, November 2022. Rediscovery: Storm de Hirsch, Mythology for the Soul, Sight &amp; Sound, April 2023. Blue Bag Life: a painful examination of addiction and abandonment, BFI Online, April 2023, link. Cette Maison: a reflexive, imaginative reckoning with the death of a loved one, Sight &amp; Sound, 7 November 2022, link. The Ballad of Tam Lin, Sight &amp; Sound, December 2022. London Film Festival Experimenta Correspondence with Patrick Gamble, Alt-Kino, 16 October 2022, link and link.The Work We Share: Sistren Theatre Collective’s Sweet Sugar Rage, Alt-Kino, 12 April 2022, link. Funhouse Mirrors of the Mind: Ira Cohen’s Mylar Chamber, Shindig! Issue 124, February 2022, pp. 64-69. Nitrate Homages to Barbara Hammer, Notebook, 12 March 2021, link. Business as Usual: Close-Up on John Smith’s “Citadel,” Notebook, 16 February 2021, link. From Social Issues to Softcore: Close-Up on Liv Ullmann in “The Wayward Girl,” Notebook, 22 December 2020, link. A Rich Tapestry of Black Experience: Close-Up on Oscar Micheaux’s "Within Our Gates," Notebook, 17 June 2020, link. Peyote Queen: Trance, Ritual and the Female Body in the Short Films of Storm de Hirsch, Another Gaze: A Feminist Film Journal, Issue 4, March 2020, pp. 90-95. Selected Interviews / Artist Profiles “I Need Time for Dream Work”: An interview with&nbsp;Chloé Zhao, Sight &amp; Sound, Winter 2025-26, 90-93. Deaf’s Cinematic Language: An interview with Eva Libertad, Curzon Journal (11 September 2025), link. Why Can’t You Let Your Imagination Grow? An Interview with Andrea Arnold, Sight &amp; Sound, December 2024, Volume 34, Issue 10. The Dark Side of the Tune: An Interview with Mica Levi, Sight and Sound, May 2024, link.&nbsp; Rudie Can't Fail: Director Jack Hazan on Pre-Thatcher Punk Portrait "Rude Boy," Notebook, 8 August 2023, link. Nina Menkes: Giving Voice to Female Rage and Despair, Sight &amp; Sound, May 2023, link. This interview was reprinted in the booklet for the BFI Blu-ray release of Brainwashed. Peaches or Weed: Carla Simón’s "Alcarràs" and the Rural Renaissance in Recent Spanish Cinema, Notebook, 24 February 2023, link. Penny Slinger: “If Art Cannot Shift Your Sense of Reality, Then It Is Not Doing Its Job,” Elephant, 19 October 2022. “I Don’t Want to Make Films for Elites”: An Interview with John Smith, Notebook, 5 October 2022, link. Amy Halpern obituary, BFI Online, 21 September 2022, link. Anthony Stern obituary, BFI Online, 4 March 2022, link. We are Born in Flames: An Interview with Lizzie Borden, Notebook, 14 June 2021, link. A profile of Shirley Clark, BFI Online, 2021, link. Nigel Waymouth, Psychedelic Artist, Tells His London Story, Time Out, 10 October 2019,&nbsp;link.The Visible Woman: In Conversation with Penny Slinger, Another Gaze: A Feminist Film Journal, Issue 3, July 2019, pp. 156-162. Punk is the word on the door: An interview with Jem Cohen, i-D, 11 May 2015,&nbsp;link. Peter Strickland on his obsessive compulsive lens, i-D, 31 March 2015, link. Psychedelia: An Interview with Anthony Stern,&nbsp;AnOther Man, Spring/Summer 2017, 156-159. Welcome Cosmic Visions: An interview with Nigel Waymouth, Shindig! Issue 38, pp. 52-59. Rock, roll, and 20,000 Days on Earth with Nick Cave, i-D, 29 September 2014, link. Remember When Today Was Tomorrow: In the Studio with John Dunbar, i-D, 5 November 2014, link. Cosmonauts of Inner Space: An interview with curator Lars Bang Larsen, Sleek, 23 October 2013, link. Book Reviews / Early Writing A Year in the Country: Cathode Ray &amp; Celluloid Hinterlands, Sight &amp; Sound, December 2022. Through the Billboard Promised Land Without Ever Stopping, Sight &amp; Sound, Winter 2022-2023. After Dark: A Forgotten Night of Hedonistic Excess Steps into the Light, Elephant, 22 May 2022, link. On Ithell Colquhoun’s Bonsoir. Letters From America that Deliver Small Events and Large Emotions, Elephant, 13 February 2022, link. On Adolfas and Jonas Mekas’s Letters Home. Punk? Feminist? Surrealist? This 50-Year-Old Book Still Refuses to Be Labelled, Elephant, 16 January 2022, link. Ahead of the Pack: Why Is Tarot Suddenly Such a Big Deal? Elephant, 21 July 2022, link. Molten Meteors and Dirty Icecream: Lynda Benglis at the Hepworth Wakefield, Sleek, 9 February 2015, link. The Sound of Science: Bjork Biophilia, i-D, 15 October, link. Dread is a bad memory of the future, Sleek, 30 September 2013, link. Inside the secret fantasy rooms of a Japanese love hotel, i-D, 16 September 2014, link. Barbara Hammer: The Fearless Frame, Wonderland, 20 February 2012, link. https://baezasophiasatchell.cargo.site/Teaching Wed, 12 Jul 2023 13:59:45 +0000 Sophia Satchell Baeza https://baezasophiasatchell.cargo.site/Teaching TeachingCritical Writing Workshops: I have led critical writing workshops for Another Gaze&nbsp;(Open City Documentary Festival, 2024-2026), Berwick Film and Media Arts Festival (2025), and Regent Street Cinema/University of Westminster (2026). Associate Research Fellow, CATHI Research Institute, De Montfort University, Leicester&nbsp;2018-2024.Appointed an Associate Research Fellow by the Cinema and Television History Research Institute at DMU as an independent scholar with established links to their research. Associate Lecturer, London College of Communication 2018-2024I have taught on the Contextual and Theoretical Studies module (now known as Informed Practice) on the BA (Hons.) in Animation program. I also supervised third-year students on the BA (Hons.) in Games Design.&nbsp; Associate Lecturer, London College of Fashion 2019-2024I have led seminars on Moving Images and The Body in Performance. In 2023, I taught on the Body in Popular Music module. Teaching Assistant and Module Convenor, King's College London 2015–2020.I taught on a broad range of modules in the Film Studies department at KCL including Introduction to Film Studies: Forms; Film Forms: Avant-Garde Cinema; American Underground Cinema, Contemporary European Cinema, and Film History: 1895-1930. In 2018-2019, I was module convenor for American Underground Cinema.Associate Lecturer, MetFilm School, Ealing Studios 2019-2020.Lecturer on the MA program Research in Screen Practice, where I led seminars on a range of approaches to Film Studies. In 2018, I gave a guest lecture on Feminist Film Theory and Queer Theory.Visiting Lecturer, London South Bank University&nbsp;2018-2019.Lectured and led seminars on Film Analysis as part of the Film Practice degree. Visiting Lecturer, University of Hertfordshire 2018-2019.Supervised final-year BA students' dissertations on the Digital Animation programme. https://baezasophiasatchell.cargo.site/Events Tue, 11 Jul 2023 13:20:13 +0000 Sophia Satchell Baeza https://baezasophiasatchell.cargo.site/Events Events2026A Roundtable on Family Cinema, Open City Documentary Festival, Rich Mix (The Studio), London, Sunday 19 April 11 am. Workshop: Making Light Shows, Open City Documentary Festival. With artists Julian Hand and Heena Song. Rich Mix (The Studio), London, Sunday 19 April, 1:45 pm. Festival Party. Curated the Open City Documentary Film Festival party, featuring performances by Mark Leckey, DJ Food, and light shows Insight Lighting, Turbulent Light, Heavy Flow. Rich Mix (The Stage), Friday 17 April, 9pm-1am.On-stage Q&amp;A with&nbsp;Carla Simón at screening of&nbsp;Romería, Curzon Bloomsbury, Friday 17 April.Sensual Laboratories, Open City Documentary Festival, ICA. Curated a programme looking at the connection between light shows and experimental films, featuring a panel discussion with Jarvis Cocker and Jack Smith.&nbsp;Thursday 16 April, 8:30pm. 2025 Elephy Presents Thinking Collectively - Mother Artists, The Beursschouwburg, Brussels. Invited to speak on motherhood and the art world at a roundtable discussion with Hettie Judah, Laure Prouvost, and Vida Dena. I also curated a short programme of experimental films for children, titled Games We Play, 18 June. Critics Workshop: Another Gaze: A Journal of Film and Feminisms, Open City Documentary Festival, 8 May. Moving Image Review and Art Journal Launch, Open City Documentary Festival, 7 May, Rich Mix. Presented my academic journal article on David Larcher’s Monkey’s Birthday (1975) and self-othering on the hippie trail. Notebook Presents: Children’s Cinema, Barbican Family Film Club, London, 5 April. Introduced the programme to celebrate the launch of the magazine issue and selected films. Workshop: Early Career Critics, Berwick Film &amp; Media Festival, Berwick-upon-Tweed, 28 March. Was invited to present a workshop on how to interview artists for publication. Workshop: Creating Light Shows, London Short Film Festival. With artists Julian Hand and Heena Song. Rich Mix (The Studio), London, 21 January.&nbsp; 2024 British Film Institute Study Day, November 8. Invited to speak on feminist film theory. Artist in Residence Talk, Onoma Gallery, Fiskars, Finland, 25 August. “Ordinary Family Life is Rich and Interesting”: The Lacey’s Family Rituals. Paper presented at CATHI Associate Research Fellows Day, De Montford University, Leicester. 10 July. Cinematic Exorcisms from the Dark Side of the 1970s: Lilford Hall. Co-curated with William Fowler a screening of Lilford Hall&nbsp;(Penny Slinger and Peter Whitehead) with a live score by The Begotten at Horse Hospital. 29 June. Falling Lessons: The Films of Amy Halpern. Curated a two-part film programme on Amy Halpern’s films for Open City Documentary Festival. 26 April at Institute of Contemporary Arts, and 28 April at Close-up Cinema. M.A.M.A. Artist Residency, Queen’s Collective, Marrakesh, Morocco. April 2-12. Women of Surrealism film program as part of Who is Luis Buñuel? season at the Garden Cinema. February 8. On a panel discussing women experimental film-makers and surrealism.2023Jane Arden: Explode the Language at the British Film Institute. Co-curated with William Fowler a two-part focus on Jane Arden, looking at her contributions to the television drama, radical feminist theatre, film, and acting. Link. I also hosted a Q&amp;A for the screening of The Other Side of the Underneath. 9 September.Critics Workshop: Another Gaze: A Journal of Film and Feminisms, Open City Documentary Festival, 10 September.Cult Film and Television Reading Group, King’s College London, 10 December. Presented my research on Stephen Dwoskin’s early underground features.British Film Institute A-level Study Day, 10 December. Invited to speak on feminist film theory.2022Experimenta Focus: Stephen Dwoskin at the British Film Institute, London. I spoke with actor Jenny Runacre on a panel about Dwoskin after a screening of Times For. January.At Home With the Boyle Family at IKLECTIK arts lab. I chaired a discussion with filmmakers Chris de Selincourt, Kim Heaney and Sebastian Boyle after a screening of the art documentary, At Home with the Boyle Family, where I also appear reenacting Boyle Family’s light projections with David Bardo. 13 November.2020Sisters of the Extreme film event at Tyneside Cinema, Newcastle. I co-curated a film programme with Kathryn Siegel on women experimental filmmakers and the occult, featuring the work of Amy Halpern, Betzy Bromberg, and Storm de Hirsch. This was the winning entry of the Projections curatorial open call for artists' moving image. 23 January.&nbsp;2019Rome is Burning: The Legacy of American Independent Shirley Clarke at the British Film Institute. I was on a panel discussing the work of Shirley Clarke. October 2019.Adventures Underground: Carroll in the Psychedelic World at the Art Workers’ Guild, London. I was invited by the Lewis Carroll Society to give a talk on Carroll’s influence on psychedelic culture in the 1960s. 26 April 2019. <img width="1910" height="1414" width_o="1910" height_o="1414" data-src="https://freight.cargo.site/t/original/i/9a0fc4c415a5ea4665e8286ac5e4e70c93b32ae40a7dce4518db7451b4a1e829/Screenshot-2024-03-02-at-17.17.37.png" data-mid="205898738" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/9a0fc4c415a5ea4665e8286ac5e4e70c93b32ae40a7dce4518db7451b4a1e829/Screenshot-2024-03-02-at-17.17.37.png" /> SPECTRAL/OLFACTORY with Bardo Light Show &amp; SonicSoul&nbsp;at&nbsp;Guest Projects.2018SPECTRAL/OLFACTORY performance-lecture as part of Mint Work’s GHOST show at Guest Projects. I collaborated with light show artist David Bardo, gong practitioner SonicSoul and tie-dye artist Courtenay Pollock on a multimedia performance lecture looking at projected light and the sense of smell. November. Fuzz Death Ballet: Performance, Projections and Protest in the British Counterculture Before 1968, Paper presented at the Autumn Film School: Cinema and 1968 conference at the Slovenian Cinemateque, Ljubljana. I was invited to speak on my research at the annual Autumn Film School. Women in the Wake of ‘68: An Interdisciplinary Conference at King’s College London. Chaired a panel discussion. Granny Takes a Trip event at Royal Albert Hall’s Summer of Love: Revisited programme. Performance. 26 June. Spoke about 1960s light shows at CATHI Associate Research Fellows Day, De Montfort University, Leicester. 6 June 2018. 1968 and its Legacies conference at Kings College London. I was a postgraduate administrator for the conference and helped put together a multimedia event and film screening. June 2018.Projecting Psychedelia at Regent Street Cinema. I curated a psychedelic film programme on the films of Kevin Whitney and Anthony Stern as part of De Montfort University’s View from Underground season. April 5.Women of the Counterculture event at Regent Street Cinema. I co-curated, with Dr. Alissa Clarke, a screening of Dope (1968) and panel discussion featuring folk icon and activist Julie Felix; singer-songwriter Carol Grimes; countercultural figure and English Boy model Jenny Spires; and artist and Exploding Galaxy member, Jill Drower. April 25.Underground discotheques and intermediality in 1960s London. Paper presented at NECS European Network for Cinema and Media Studies conference, Amsterdam. <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/516539381ae45cfc490d1c4ba9e6f5fdfe6be2426afd088d6a764741ee89fb1f/WOTCC2.jpg" data-mid="209640463" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/516539381ae45cfc490d1c4ba9e6f5fdfe6be2426afd088d6a764741ee89fb1f/WOTCC2.jpg" /> Women of the Counterculture event at Regent Street Cinema, 2018 (c.) Ryan Henry . 2017Psychedelia and Architecture in the films of Anthony Stern. Paper presented at From Profumo to Performance: New Perspectives on 1960s British Cinema symposium, University of York, 1 September.The “Ultimate Dream Environment”: Filming the Psychedelic Nightclub. Paper presented at Tonite Let’s All Make Love in Leicester: Peter Whitehead and the Long 1960s conference at De Montfort University, Leicester, 3-4 March.Alice’s Adventures in Underground Culture at Horse Hospital, London. I was on a panel with Andy Roberts, Jake Fior, and John Coulthart discussing Alice in Wonderland’s influence on psychedelic culture, for a three-day exhibition hosted by The Psychedelic Museum. A Date With Mike Sarne. Muse Gallery, 27 June. Hosted an evening with pop singer, fashion photographer and film maker Michael Sarne. Dilating Designs: Time And Space In Late 1960s Psychedelic Cinema. Paper presented with Dr Mark Broughton at Breaking Convention: Fourth International Conference on Psychedelic Consciousness, University of Greenwich. 30th June.Get All that Ant? screening at Slaughterhaus, London. I introduced Anthony Stern’s new film. July.A Little Place off the Portobello Road: Walking through West London’s Alternative Film History.&nbsp;Performance-lecture at Transition Gallery, London as part of Ghost Cinema program of talks, curated by Cathy Lomax, link.2016“Time Turns Turtle”: Representing Expanded Notions of Time with the Classical Indian Film Score. Paper presented at the Society for Cinema and Media Studies Conference, Atlanta, Georgia.&nbsp;Paper presented at Trans/Media: Trans/National Screens BAFTSS (British Association of Film, Television and Screen Studies) Conference 2016 University of Reading, April 14-16.Return of the Living-dead Cinema, NECS European Network for Cinema and Media Studies Graduate Workshop co-curated with Anna Luise Kiss and Marta Małgorzata Wąsik, Potsdam, Germany, 26-27 July. Close-up on VALIE EXPORT at Close Up Film Centre, London. I introduced a screening of Export and Peter Weibel’s Invisible Adversaries (1976). 30 October.CAMIRA Jury at Festival Márgenes, Madrid. I was on the CAMIRA film jury at the Spanish film festival. December.2015The Boyle Family's Son et Lumière for Insects, Reptiles, and Water Creatures (1966) and the Biological Aesthetic of Light Shows. Paper presented at the NECS European Network for Cinema and Media Studies conference, Archives of/for the Future, Łódź Poland.Hosted a Q&amp;A with production designer Emanuele Taglietti after a screening of Juliet of the Spirits. Hosted by Black Decagon Film Club at Gosh Comics for Scalarama, 10 September.2014VIBRATIONS. An installation and visual essay collaboration with the musician Twink for Mint Collective, a partner project of Marrakech Biennale 2014. Pop Europe? symposium, Wolverhampton Art Gallery. Presented work-in-progress research at a symposium held in connection with the Pop Europe? exhibition at Wolverhampton Art Gallery.Sisters of the Extreme presents ... Dope (1968) at the Horse Hospital, London. I programmed a screening of Dope (Sheldon Rochlin and Flame Schon, 1968) and Iggy the Eskimo Girl (Anthony Stern, 1966) as a benefit for the arts venue.Wotever Film Festival at the Cinema Museum, London. I spoke on a panel about film criticism and writing. August.2013Medical Experimental film screening at Eye Film Museum, Amsterdam. Co-curated with other students on the Preservation and Presentation of the Moving Image module. Included in the program was our short film, 190 E Of Euphoria (Sophia Satchell-Baeza, Travis Werlen, Nil Baskar, 2013). Paper presented at NECS -European Network for Cinema and Media Studies Graduate Workshop, Universität Wien, Vienna, February.&nbsp; Film screenings programmed at Joe’s Garage, Amsterdam.&nbsp;