Joey Carducci is a filmmaker, activist and Assistant Lab Manager in the Film/Video Department at Pratt Institute. His first film, STONE WELCOME MAT, premiered at the Venice Film Festival while he was a film student at California College of Arts and Crafts in 2003. That same year they decided to cut the “Crafts” out of their name, but he refuses to cut the craft out of filmmaking. Carducci continues to shoot on his Bolex, hand-process in his kitchen, tape splice on his Steenbeck, and find ways to do almost every step of the filmmaking process himself, as he did when he worked in professional photochemical film labs. Film is not dead… yet — it is in the hands of the artists.

To make 16mm filmmaking equipment and resources more accessible, Carducci started 16mm Film Lab, a student group offering free film screenings and workshops as an extension of the class he is assistant teaching, The Material of Film.

Carducci’s handmade films incorporate the materiality of queer experimental 16mm filmmaking through the theory and practice of self-reflexivity. His work acknowledges itself and the viewer, challenging the mandatory narrative by exposing the process to create awareness and resistance in content and form. He is committed to addressing his own white, transmasculine and class privilege at the intersections of injustice within and beyond the film frame and the gates of Pratt. While 16mm film is his chosen art and craft, he admits that his media activism is conducted primarily on his smartphone, featured in his ongoing project Civil Imagination in Practice: Copwatching as an Oppositional Gaze.

Secret details have finally been revealed and his new film COMING OUTTAKES is in progress. In the summer of 2016, his film GENERATIONS (2010), a collaboration with Barbara Hammer, screened at the Museum of Arts and Design in a Canyon Cinema program titled Secession: The Decay of Patriarchy. He made a coming out video to share with Hammer that day and then came out as trans to the audience later that night. In this feminist context, he announced that his new film will be shot almost entirely on black and white handmade emulsion which he will make himself, and that it will incorporate some of Hammer’s color negative outtakes from her 1995 film, TENDER FICTIONS, to critique and perform masculinity and examine the complexity and tension between transmasculinity and feminism, lesbian transphobia and trans femmephobia, transfeminism, transmisogyny, and the reign of patriarchy, blame and shame that divides us. The feminist critiques of masculinity will be scathing, and the handmade emulsion will be scalding.

Joey (formerly Gina) Carducci’s coming out video, A VIDEO LETTER TO BARBARA HAMMER, will screen at Anthology Film Archives in March as a part of NEW YORK FEMINIST FILM WEEK, following a FEMINIST FILM GENEALOGIES ROUNDTABLE and a screening on International Women’s Day of ALL THAT SHELTERING EMPTINESS, Carducci’s collaboration with Mattilda Bernstein Sycamore. Carducci is also co-curating a Transgender Film Series at Anthology, April 14-23. His 16mm film COMING OUTTAKES will be released in the spring of 2018.

His films have screened, by invitation, at Brooklyn Museum, Havana Film Festival, Metropolitan Museum of Art, Museum of Fine Arts – Boston, and Tate Modern, among others. Publications include Films for the Feminist Classroom, Make/shift, Maximum RocknRoll; distribution: Canadian Filmmakers Distribution Centre, Canyon Cinema, Filmmakers’ Coop; awards: Black Maria Film and Video Festival’s Director’s Choice Award; Special Jury Award, Side by Side LGBT International Film Festival, Saint Petersburg, Russia; Teddy Award for Best Short Film at the Berlinale for collaboration with Barbara Hammer.