May 25, 2016 12:54 pm
Gordon Quinn, founder and artistic director of Kartemquin Films, will return to his Alma Mater, the University of Chicago, to give the 2016 Robert H. Kirschner, MD, Human Rights Memorial Lecture on June 2, 2016 at 6:00 PM, during the 2016 UChicago Alumni Weekend. Quinn will be interviewed on stage by Jacqueline Stewart, Professor in Cinema and Media Studies and the interim director (2015-16) of the Gray Center for Arts and Inquiry.
They will be discussing how preserving images of the past is critical to contemporary social justice movements, with reference to our upcoming film '63 Boycott, and other works in the Kartemquin filmography.
This annual lecture series honors the life and work of Robert H. Kirschner, MD, noted forensic pathologist and a founder of the University of Chicago Pozen Family Center for Human Rights. It will be held in the University of Chicago campus Mandel Hall, 1131 E. 57th St. This event is free and open to the public. Get more details.
The Kirschner Memorial Lecture comes just a few weeks before our 50th Anniversary Celebration on June 24th in Chicago, which will gather Kartemquin alumni from across our five decades for an unmissable evening. Get your ticket today.
A 1965 graduate of the University of Chicago, Gordon Quinn's work includes films that deal with such disparate issues like labor organizing (The Last Pullman Car), Access to Healthcare (Chicago Maternity Center), veterans issues (Vietnam: A Long Time Coming), and immigration (New Americans), to name but a few. His current project, '63 Boycott, focuses on the legacy of racial segregation in Chicago public schools. He has been a passionate spokesperson for social justice issues in the city of Chicago and elsewhere, and in telling the stories of under-represented people. He has been a tireless advocate for the rights of documentary filmmakers and the importance of a strong public media in a democracy. As Gordon says, "One of the things that a democracy needs is to find a way to create stories that can help different parts of a population understand each other, understand where people are coming from, what they're living with... our films have tended to be more emotional, less analytical—taking us back to our roots in vérité storytelling, to draw people in on an emotional level. If you get people emotionally connected to your story, then you have the chance of opening them up a little bit, getting them to pay attention to somebody who maybe doesn't look like them, or someone they think they're not sympathetic with."