Mix Collection

Date Range: 19872001
Survey Conducted: Thu, 2008-11-20
Creator: Mix Festival

History: The Mix Festival, originally known as the New York Lesbian and Gay Experimental Film Festival, was created in 1987 by filmmaker Jim Hubbard and novelist Sarah Schulman. The purpose of the festival was to create an alternative to mainstream gay and lesbian film festivals and to highlight the important contributions that queer filmmakers have made to experimental and avant-garde film practices. The program of the initial festival, which was first held at the Millennium Film Workshop, included a number of both classic and new works by queer filmmakers. The third festival was held in 1989 at the Anthology Film Archives, where it has more or less been held ever since. The focus of the 1989 festival was on representations of the AIDS crisis, including several works by experimental filmmakers who had died of AIDS-related complications and many others who were fighting HIV themselves. The fourth festival included a special emphasis on films by and about black gay men. In 1991, like many arts organizations around New York, the festival suffered a severe cut in funding from the New York State Council of the Arts. Nevertheless, the festival continued to show films that posited themselves against mainstream representations of homosexuality and AIDS.

After the 1991 festival, Schulman left to spend more time writing. Hubbard, Marguerite Paris and Jerry Tartaglia curated the 1992 festival, recruiting a group of guest curators including Thomas Allen Harris, Cheryl Dunye, Daryl Chin and Tania Cypriano to program 5 of the shows. In 1993, Shari Frilot and Karim Ainouz became the festival directors. Shari continued to direct the festival through 1996. With the change in membership came a change in name – from the New York Lesbian and Gay Experimental Film Festival to Mix. The festival also started to focus more on showing films by and reaching out to younger queer filmmakers of color. Over the years, Mix increasingly received a steady stream of submissions by Asian/Pacific American filmmakers. Additionally, the festival began to depend more on having guest curators create and exhibit programs. In 2000, the festival instituted screening and programming committees to review the abundance of film submissions. In recent years, Mix has continued its dedication to providing downtown New York with a venue for formally challenging mainstream gay and lesbian film and video. For a more detailed history of Mix, consult the NYU Fales Library & Special Collections online finding aid.

Sources: “Guide to the Mix Collection.” Finding aid at the NYU Fales Library and Special Collections, New York, NY: New York University. http://dlib.nyu.edu/findingaids/html/fales/mix/.

Summary: The Mix Collection contains paper files and media related to the Mix Festival, a small portion of which pertains to work produced by A/PA filmmakers.

The photographs series contains stills from submitted films, stills and negatives from photo shoots for program guide layouts, photos from Mix-related events and parties, and miscellaneous photos. This series also includes other media, such as Minidiscs and floppy disks that contain digital photographic files. Series XVII, Subseries A contains film stills from Gin Kwoi’s “Dark Sun, Bright Shade,” Shu Lea Cheang’s “Fresh Kill,” Gregg Araki’s “The Long Weekend (o’ Despair),” Tan Hoang Nguyen’s “Forever Linda!,” “Love Letters 1 + 2,” and “Maybe Never (But I’m Counting the Days,” Patty Chang’s “Hubcap,” and others.

The media series contains mostly videos and some films; the bulk of these are entries submitted to the Festival. These films, found in Subseries G: Media in each series starting from Series VII: 1993, constitute the main strength of A/PA-related material contained within the collection. Below is a brief list of films by and/or about LGBTQ A/PA organized chronologically by festival year. Access copies may not yet be available. Interested users should check with Fales archivists.

Series VII: 1993
“Biways” –Paul Shimazaki and Prescott Chow
“Monzetu Donden-Gaesi”—Dr. Tatumi Kumasiro
“Be Good, My Children”—Christine Chang
“Waves of a Distant Shore”—Meng Ong
“The Ideal/Na(rra)tion”—Yau Ching

Series VIII: 1994
“Destiny, Desire, and Devotion”—Zahid Dar
“Rising”—Daven Gee

Series IX: 1995
“Bottom”—Terry Chiu
“Stranger Baby”—Lana Lin
“Forever Jimmy!”—Hoang Tan Nguyen
“Video Letter #1,” “Video Letter #2,” “Video Letter #3”—Yau Ching
“Stale,” “Crudite,” “Black-hair and Black-eyed”—Julie Whang
“Land and Skin,” “Postpartum Letter”—Ju-Pong Lin
“Between the Lines,” “I Wanna B Your Minoritee”—Ming-Yuen S. Ma
“inching…”—Gilbert Kwong
“Junky Punky Girlz”—Nishi Ganatra
“Hindustan”—Gita Reddy
“Love Song for Persis K”—David Dasharath Kalal
“Neko-Mimi”—Jun Kurosawa

Series X: 1996
“The Yellow Pages”—Ho Tam
“Where is My Love”—Jofei Chen
“First Year”—Trac Vu
“Boulevard of Broken Sync”—Winston Xin
“Untitled Joan,” “A Room with a View”—Julie Whang
“I Dream of Nicky”—Tan Hoang Nguyen

Series XI: 1997
“Blending Milk and Water: Sec in the New World”—Paul Wong
“Not Simply a Wedding Banquet”—Mickey Chen and Ming-Hsiu (Mia) Chen
“Julpari”—Swati Khurana and Leith Gill Murgai
“Sniff”—Ming-Yuen Ma
“Oriental Snatch”—Kim Nguyen
“Feb.24.97 (My Solo Performance Extravaganza”—Loan K Nguyen
“Surfer Dick”—Wayne Yung
“My Love affair with a Monosexual Ratchamacallit,” “Teething”—Young Hoon Chung
“Season of the Boys”—Ho Tam
“Untitled (My Mama)”—Lynne Chan

Series XII: 1998
“Star Trek: disco Generation”—Gordon Wong
“Remotely in Tough”—Laiwan
“Dance Dance Dance”—Ming-Lang Chen
“Life-Size”—Lynne Chan
“Xin Lu: A Travelogue in Four Parts, Part One: Myth(s) of creation—Ming-Yuen S Ma
“Estrofemme”—Leslie Mah
“These Are a Few of My Favorite Things”—Tan Hoang Nguyen
“Pooneet’s Search”—Peipei Yuan
“Chocolate Is an Indian Word”—Gitanjali and Shauna Beharry
“A Frog and a Girl”—Noriko Abe
“spacejazzEros,” “Telefunk 8”—Nicole Chung

Series XIII: 1999
“Pocahontas,” “99 Men”—Ho Tam
“Afterimage”—Mitsunori Akimoto
“Search Engine” Wayne Yung
“She Makes Me Wanna Die”—Rita Hui
“Star Trek: Generation Spice”—Gordon Wong
“Imagining Place”—Anita Chang
“PoMo Knock Knock”—Greg Pak
“merchant/Venice”—Brian Nishii and Noel Salzman
“http:www.tubeandmemory.love/uk”—Kenny Hung

Series XIV: 2000
“Admissions to Strangers”—Wil Lin
“Xin Lu Part II: Mother/Land—Ming-Yuen S Ma
“Compulsion”—Ping Tan
“Kiss XXX”—Akira Shimazaki
“Illusion”—Alfonzo Nam
“David,” “Ah Leon”—Chia-Hui Gao Swift
“Fine China”—Ho Tam

Series XV: 2001
“School Fag”—Richard Fung
“Field Guide to Western Wildflowers”—Wayne Yung
“Beyond These Walls”—Gordon Wong

NB: The Mix Collection does not contain every film and video shown in the Festival’s history, only the ones in the Festival’s possession at the time of the collection donation. Also, the collection does not hold any media materials from 1987-1991, owing to the Festival not keeping an extensive database of submitted works until 1993. Furthermore, not all the media materials housed in the collection were shown in the Festival; for more information concerning which titles were screened during the Festival, consult the program guides, which can be found in each year’s administrative files subseries (subseries A), and the entry forms (see Subseries C).

Total Size: 175 linear feet, 123 boxes
APA-related Size: 3 linear feet, 3 boxes
Languages of materials: English
Arrangement: chronological
Location: Fales Library & Special Collections, New York University
Bibliographic Control: finding aid
Finding Aid Link: http://dlib.nyu.edu/findingaids/html/fales/mix/
Conditions Governing Access: Contact repository for detailed information on conditions governing access.

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