The Entrekin Foundation is a proud sponsor of this documentary of Berkeley poetry and history.
Ken Paul Rosenthal
Ken Paul Rosenthal is an independent filmmaker and educator whose recent documentaries explore the intersection of art, madness, and the spectrum of difference. These films present the stories of marginalized artists as authentic and redemptive healing narratives. His early work embraces hand-made image making through alternative photochemical and bacterial processes, direct manipulation techniques, and multiple projection performance. Ken's work has screened at national and international film festivals and venues, including: Rotterdam Int'l Film Festival; Hot Springs Documentary Film Festival; DokuFest Int'l Documentary Film Festival; American Documentary Film Festival; New York City MoMA; The Guggenheim; Yerba Buena Center for the Arts; Anthology Film Archives; San Francisco Cinematheque; Museu do Chiado Museum of Contemporary Art; and the Ujazdowski Castle Centre for Contemporary Art. He is the recipient of numerous festival awards, a University Film & Video Association Award, a Kodak Cinematography Award, and is widely recognized for his media work in mental health advocacy. His Mad Dance Mental Health Film Trilogy circulates in over 300 academic and public libraries, screened at 73 film festivals, and been presented in person at hundreds of universities, mental health symposia, peer support networks, and community events worldwide. He has taught film production at Ngee Ann Polytechnic, Singapore; the Academy of Art University, San Francisco; and San Francisco City College. Ken holds an MA in Creative & Interdisciplinary Arts, an MFA in Cinema Production, and is currently a filmmaker in residence at the Jewish Film Institute.
Manipulations: Experimental Documentaries
Film is intrinsically about manipulating time—and by extension its subject—in the medium of light. This manipulation requires a phenomenal deception commonly referred to as “the persistence of vision.” It is only with our active participation as viewers that a static string of images flickering across the screen at twenty-four frames per second can perpetuate […]