POOJA RANGAN is a film scholar and writer. She is Associate Professor of English in Film and Media Studies at Amherst College, and the author of Immediations: The Humanitarian Impulse in Documentary (Duke UP 2017, winner of the 2019 Harry Levin Prize for Best First Book from the ACLA), a book that examines the humanitarian ethic of “giving a voice to the voiceless” in participatory media interventions. Rangan’s current research focuses on the ways in which documentary forms shape auditory culture. She is the co-editor, with Genevieve Yue, of a special issue of the journal Discourse on “Documentary Audibilities,” and has written on topics such as call center films and auditory discrimination, seriousness in documentary, post coloniality and racism, and feminist experimental cinema for a variety of journals and anthologies, including Film Quarterly, Camera Obscura, Feminist Media Histories, World Picture, and differences.
JONATHAN MARLOW is a persistent curator, composer, cinematographer and intermittent film producer and filmmaker with a handful of award-winning shorts and features to his credit. Prior to his roles at Arbelos and Paracme, Marlow was (or continues to be) affiliated with numerous film festivals
(including Camera Obscura, Telluride, Seattle International and Crossroads), film institutions (Northwest Film Forum, San Francisco Cinematheque, Canyon Cinema) and technology-centric film distribution companies (notably Fandor, Amazon, VUDU and others). In addition to Marlow’s articles and interviews for an assortment of online and print publications, he is known to regularly host screenings throughout the world showcasing remarkable films that are generally unavailable elsewhere.
GENEVIEVE YUE is an assistant professor in the Culture and Media department at Eugene Lang College, the New School. She was a co-programmer, with Chris Stults, of the Flaherty NYC fall 2016 program “Wild Sounds.” Her writing has appeared in October, Grey Room, and Social Text, and she is a regular contributor to Film Comment, Art-Agenda, Reverse Shot, and Film Quarterly. She is currently completing a book about gender and film materiality.
TED KENNEDY is an artist based in New York and Michigan. His moving image and installation work has been screened and exhibited at places like the Art of the Real, Microscope Gallery, VISIONS, Onion City Film Festival, BAM, Media City Film Festival, Orphans, 67 Ludlow and various psychology conferences. He has served on the boards of the Ann Arbor Film Festival and UnionDocs and co-programmed the Flaherty NYC fall 2014 series with David Dinnell. Ted received a BA in Economics from the University of Michigan and an MFA from Bard College. He is currently working on a documentary about the behavioral psychologist B.F. Skinner.
NICHOLAS ELLIOTT has been the New York correspondent for French film journal Cahiers du Cinéma since 2009 and is a programmer for the Locarno Film Festival. He is also a Contributing Editor for Film for BOMB magazine and his writing on film has appeared in Film Comment, 4 Columns, The Criterion Collection, and anthologies on the films of Chantal Akerman and Philippe Garrel. He has written and directed three short films, which have been screened at New Directors New Films (MoMA/Film Society of Lincoln Center), International Film Festival Rotterdam, and Chicago Underground, among others. He has worked extensively in theater in New York and in Europe, notably as the company manager for Richard Maxwell’s New York City Players from 2007 to 2013. He is also a translator from the French, notably of Michel Winock’s biography Flaubert and William Marx’s essay The Hatred of Literature, both from Harvard University Press, and Duras/Godard, a collection of conversations between Marguerite Duras and Jean-Luc Godard, forthcoming from The Film Desk.
DANIELA ALATORRE is a cofounder of No Ficción, an independent media company devoted to producing non-fiction content. She is a programmer for the Morelia Film Festival, which she produced for ten years. She is the producer of the Sundance Award winning documentaries El General (2009) and Midnight Family (2019); ¡De Panzazo! (2012), El Ingeniero (2012), the NYT OpDocs Unsilenced and Ruptured City, and the Netflix original documentary collection of shorts Río Grande, Rio Bravo. She is part of the board of trustees of the Flaherty Film Seminar in New York and the Ambulante Film Festival in Mexico. She has been an advisor and juror for various festivals and organizations around the world including Palm Springs, FICG, Documenta Madrid, IMCINE, Sheffield, and Cinema Tropical Awards among others. Alatorre holds an MFA in documentary film from the School of Visual Arts in NY, and is currently working on her first feature film as director.
ARIELLA J. BEN-DOV is a documentary producer who has worked on a range of award winning social justice issue documentaries. Her film, THE RETURN, about criminal justice reform is a Peabody Award nominee, won the Audience Award for Best Documentary at the Tribeca Film Festival and a Golden Gate Award at the SF International Film Festival. THE RETURNbroadcast nationally on PBS as part of the acclaimed POV series. Ben-Dov produced Academy Award-winning director Debra Chasnoff’s THAT’S A FAMILY and the RESPECTFOR ALL film series. Also, a curator, Ben-Dov specializes in independent cinema across genres. As the director of the Margaret Mead Film Festival at the American Museum of Natural History, she integrated installations, multimedia performances and educational programs into the festival. Ben-Dov co-founded the MadCat Women’s International Film Festival and served as its executive director and curator from 1996–2012. She has presented her programs at numerous venues around the globe, including the Harn Museum of Art, Harvard Film Archive, and Pacific Film Archive. Ben-Dov co-curated the 51st Flaherty Film Seminar, Creative Demolition: Reconstructing Culture Through Innovations in Film and Video, which featured a variety of art experiences including: 3D screenings, documentaries, interactive media installations, and a Viewmaster presentation. She has taken part in and moderated panels on alternative exhibition, documentary film and experimental filmmaking at Sundance among other festivals and has been seated as a juror at festivals around the world.
JENNIFER DAVISis Senior Officer at The Philanthropy Workshop, a team responsible for planning and delivering the global program in strategic philanthropy. Jennifer’s professional background combines over eight years’ international development work with three years in public media. Most recently leading development activities at American Documentary, producer of PBS’s award-winning documentary series POV, Jennifer has worked in communications, fundraising and program development for organizations in diverse international contexts, including China, Indonesia, Laos, Mexico, Taiwan and Turkey. Jennifer graduated from Scripps College with a dual Bachelor of Arts in Political Science and Cultural Studies and completed her Master of International Affairs at Columbia University with a focus on East Asian Regional Studies. Jennifer was a 2011 Fellow at the Robert Flaherty Film Seminar.
PABLO DE OCAMPO is a Vancouver-based film and exhibitions curator at Western Front, one of Canada’s leading artist-run centers for contemporary art and new music. He has curated screenings, exhibitions, and performances at galleries, cinemas, and festivals around the world, including at Power Plant in Toronto, Kino Arsenal in Berlin, Experimenta in Bangalore, and the British Film Institute in London. From 2006 to 2014, de Ocampo was artistic director of the Images Festival in Toronto, and in 2013, served as the programmer of the 59th Robert Flaherty Film Seminar, History is What’s Happening. He was a founding member of the collective screening series the Cinema Project in Portland, OR. In 2017, de Ocampo served as a panelist for Pew Fellowships.
KEVIN JEROME EVERSON is an artist working in film, painting, sculpture, and photography. He was born in Mansfield, Ohio and currently resides in Virginia. He holds an MFA from Ohio University, and a BFA from the University of Akron, and is Professor of Art at the University of Virginia, Charlottesville. Since 1995, he has created over 100 films, including Avenues, Second Shift, and Adult Material; often these are created in conjunction with visual art installations or paintings. Everson’s work has been screened at the Sundance Film Festival, the Athens International Film Festival, London’s International Centre of the Arts, and the South by Southwest Film Festival. He has won fellowships from the National Endowment for the Humanities, the Guggenheim Foundation, and the Ohio Arts Council. His visual art has been exhibited at the Whitney, the Cleveland Center for Contemporary Art, and throughout Europe.
SIMONE LEIGH is a visual artist whose practice incorporates sculpture, video, and installation; all are informed by her ongoing exploration of black female subjectivity and ethnography. Leigh was born in 1968 in Chicago, IL. She is a finalist for the Hugo Boss Prize (2018); and a recipient of the Foundation for Contemporary Art Grant (2018), Joyce Alexander Wein Artist Prize (2017), John Simon Guggenheim Fellowship (2016), Anonymous Was a Woman Award (2016), Herb Alpert Award for Visual Art (2016), A Blade of Grass Fellowship for Socially Engaged Art (2016), and Louis Comfort Tiffany Foundation Biennial Award (2013). Recent projects and exhibitions include Trigger: Gender as a Tool and as a Weapon (2017) at the New Museum of Contemporary Art, New York; Psychic Friends Network (2016) at Tate Exchange, Tate Modern, London; The Waiting Room (2016) at the New Museum of Contemporary Art, New York; The Free People’s Medical Clinic (2014) a project commissioned by Creative Time; inHarlem, a public installation presented by The Studio Museum in Harlem at Marcus Garvey Park, New York; and a solo exhibition at the Hammer Museum, Los Angeles. Leigh’s work is currently on view in the 10thBerlin Biennale.
ADAM PIRON is the Assistant Curator of Film at the Los Angeles County Museum of Art (LACMA) and a member of the Sundance Film Festival’s Short Film Programming Team. He is also an Associate Short Film Programmer for AFI Fest. He has also programmed Film Independent's LA Film Festival and the Over-the-Rhine Film Festival. From 2014 to 2017, he served as a Manager for Sundance Institute's Native American and Indigenous Film Program. Piron has served on competition juries and panels for film festivals such as imagineNATIVE Film Festival, Big Sky Documentary Film festival, Maoriland Film Festival, Palm Springs International ShortFest, Hot Springs Film Festival, and Art House Convergence. He has served as a mentor for the Whistler Film Festival's Aboriginal Filmmaker Fellowship and as a NATIVe Partner Representative at the Berlin International Film Festival. He has also guest programmed showcases of Native Cinema at the Borscht Film Festival and the Eastern Oregon Film Festival and has also been a reader for Creative Capital.
A filmmaker, writer, and programmer, JASON LIVINGSTON has worked with many non-profits, including Cornell Cinema, the Experimental TV Center, the Standby Program and others. His award-winning work has screened widely, including Rotterdam, Anthology Film Archives, the Austrian Museum, the Vancouver Art Gallery, and more. Under Foot & Overstory is distributed by the Canadian Filmmakers Distribution Centre, and Lake Affect is available through Electronic Arts Intermix as part of the Experimental Television Center DVD boxed set.
He is currently pursuing a practice-based PhD with the Department of Media Study at the University at Buffalo, NY.
RUTH SOMALO is a Spanish curator, filmmaker and researcher based in New York. She is a Programmer at DOC NYC, DocumentaMadrid and The Architecture and Design Film Festival, and was the co-director of Impugning Impunity Human Rights Film Festival. As an independent curator she is interested in the Poetics of Fragility and reclaiming a non-judgmental, non-anthropocentric space for emotions. Some of her independent programs include “Holy Fluids and Absent Wounds”, “Queer Utopias” (Union Docs) and Flaherty NYC 2017’s Winter/Spring Series “Broken Senses” (Anthology Film archives). She has specialized in creative nonﬁction, she has worked in the audiovisual field in Spain, London and the U.S.A. Her films have been shown in theaters, festivals and museums internationally; among them the Verdi Cinemas, Zumzeig Cinema, Cineteca de Madrid/Contemporary Art Center Matadero de Madrid, San Sebastian International Film Festival, Cinema du Réel (Paris), ADFF (NY), L’Alternativa (CCCB Barcelona), Rural Life Museum, Documentamadrid, MOMA PS1 (Expo1) and at the EYE Film Institute in Amsterdam (Spanish Cinema Without Fear).
JUAN SUÁREZ is the Director of the Moving Images Archiving and Preservation Program (MIAP), and an Associate Arts Professor at NYU, Tisch School of the Arts. She is a specialist in Media Preservation, Cinema, Culture and Literature Studies with a concentration in Latin America. She has been an organizer and a participant in the Audiovisual Preservation Exchange Program (APEX) in Colombia, Uruguay, Argentina, Chile, Spain, Brazil and Puerto Rico (2013-2019). She has worked in different film preservation projects in Colombia. She is the author of Sitios de Contienda. Producción Cultural y el Discurso de la Violencia, and Cinembargo Colombia. Ensayos críticos sobre cine y cultura colombiana, published in English in 2012. She is the co-editor of Humor in Latin American Cinema (2015). She is leading the collaborative digital humanities project arturita.net, aiming to facilitate exchange and collaboration for the safeguarding of audiovisual patrimony in Latin America. She is currently working on a book provisionally entitled Moving Images Archives, Cultural History and the Digital Turn in Latin America.
ADNAAN WASEY is an executive producer with a history of championing the work of a diverse group of creators for new platforms. He's created media for some of the most admired film, news and information organizations, including PBS, The New York Times, Snapchat and WNYC, and his work has been honored by the Emmy Awards, Webby Awards and many others. He's a frequent speaker about the future of media at venues such as SXSW, YouTube, The TV of Tomorrow Show, The Tribeca Film Festival and The New York Film Festival and as an adjunct professor in film and entrepreneurship. Adnaan is a member of the Producers Guild of America and in 2018 became the recipient of the first Rita Allen Fellowship. Connect with Adnaan at adnaan.com.
Previous Presidents and Executive Directors
Elected Board Presidents of The Flaherty
Pooja Rangan, 2018-present
John Bruce, 2016-2018
Chi-hui Yang, 2012-2016
Ann Michel, 2009-2012
Patricia Bruck, 2004-2009
Patricia Bruck and Tom Johnson, 2002-2003
Lucy Kostelanetz, 2000-2001
Juan Mandelbaum, 1998-1999
Pearl Bowser and Juan Mandelbaum, 1996-1997
Richard Herskowitz, 1993-95
Tom Johnson, 1990-92
Jack Churchill, 1987-89
Pearl Bowser, 1986-87
Esme I. Dick, 1983-86
Emile de Brigard, 1981-83
Jay Ruby, 1977-81
William Sloan, 1974-77
Austin Lamont, 1973-74
Dorothy Oshlag Olson, 1971-73
Willard Van Dyke, 1968-71
Erik Barnouw, 1960-68
Staff Executive Directors of The Flaherty
Jon-Sesrie Goff, 2018 - present
Anita Reher, 2012-2018
Mary Kerr, 2006-2012
Margarita de la Vega Hurtado, 2002-2006
L. Somi Roy, 1998-2001
Kiersta Gostnell, 1997-1998
Michelle Materre, 1995-1997
Bobbi Tsumagari, 1994-95
Sally Berger, 1989-94
Esme I. Dick, 1982-88
Barbara Van Dyke, 1964-82