{"id":7843,"title":"Jennifer Reeves","kind":"bio","url":"https://www.videohistoryproject.org/jennifer-reeves","version":"e7b85ad201f425ac3ea01ceeff530f319acc4514e29db996c80b41d460f10d35","modified":"2011-06-18T00:00:44+00:00","credits":[],"authorKeys":[],"subjects":["bio"],"metadata":[{"label":"First name","value":"Jennifer","url":null},{"label":"Last name","value":"Reeves","url":null}],"citations":{"page":"\u0022Jennifer Reeves.\u0022 Video History Project, Experimental Television Center, 2011. https://www.videohistoryproject.org/jennifer-reeves.","publication":null,"risUrl":"https://www.videohistoryproject.org/citation/7843.ris"},"links":[],"sections":[{"name":"body","source":"VHP record body","generated":false,"characters":1461},{"name":"summary","source":"existing VHP generated summary","generated":true,"characters":534}],"content":{"section":"body","source":"VHP record body","generated":false,"text":"Jennifer Reeves lives and works in New York and has made about thirteen short films and one feature. Reeves was a Jacob Javits fellow from 1998-2000 at the University of California, San Diego, where she acquired her M.F.A., and she is now a Visiting Professor of Film at Bard College. (2004) Selected filmography: THE GIRL\u0027S NERVY (1995), CHRONIC (1996), WE ARE GOING HOME (1998), DARLING INTERNATIONAL (co-directed with M.M. Serra, 1999), FEAR OF BLUSHING (2001). The Time We Killed is a beautiful, impressionistic cine-poem (and a companion piece to her short Chronic), and Jennifer Reeves\u0027s debut feature. The work combines elements of experimental film, narrative cinema, and documentary to create a stellar example of personal filmmaking. Robyn (Lisa Jarnot) is an agoraphobic poet who can\u0027t prevent the outside world from penetrating her Brooklyn apartment-whether it\u0027s a murder-suicide next door, memories of her true love, or September 11. The Time We Killed burrows into Robyn\u0027s restless perspective. Reeves shoots the housebound apartment scenes in uninflected DV and assembles the memory montages from beautifully high-contrast 16mm images. (The dialectical approach means that choosing outdoors over indoors, community over solitude, also represents a vote for film over video.) She received a Finishing Funds award from the Experimental Television Center for WHEN IT WAS BLUE, exhibited at the Museum of Modern Art, and edited at the Wexner Center.","offset":0,"nextOffset":null,"totalCharacters":1461,"complete":true},"rightsUrl":"https://www.videohistoryproject.org/terms-service"}