Dear Jo(h)n

Along with doubtless thousands of others, an email arrived today telling me there would be no skiing, partying, or gushing of non-existent money spent by me to attend the upcoming Sundance Festival.

Not with Coming to Terms, nor, advised 3 further letters, with The Narcissus Flowers of Katsura-shima, nor Trinity, nor the short, Stand.

RE:  12465-UNF – COMING TO TERMS

Dear Jon,

On behalf of the Sundance Programming staff, I would like to thank you for submitting your film to us for 2013 Sundance Film Festival consideration.  Unfortunately, we were unable to include it in our Festival program this year. For the first time in our history, we received more than 12,000 submissions (12,146 to be exact), so deciding on a final program was more difficult than ever.  We selected 170 films from around the world (1.4% of the total films submitted to us), and it goes without saying that we viewed far more worthy films than we had room for in our program.  Please know that your film was carefully considered by our team, and we truly respect your hard work and dedication as an independent filmmaker.  We wish you the best of luck with your project and hope you will give us the opportunity to view your work in the future.

Sincerely,

John Cooper

Director, Sundance Film Festival

I can’t really say this came as a surprise to me, but since I got a waiver from the stiff entry fee, I thought it worth about $10 in DVDs and postage to roll the dice.  In my cynical opinion it would have been very nice to go… to ski.   On the other hand though I’d read that it was the intention of the festival to shift a bit more toward the so-called indie world of adventurousness, etc., I kind of figured this was within the brackets which seem to define such things in the USA – mostly rather conventional filmmaking perhaps spiced with some literary/narrative topical kink.   So I didn’t really think Sundance would be inviting my work – none of the things I sent quite fills that kind of bill.

So, no skiing for me this winter unless some quirk finds me invited somewhere else – I could go up on Mt Hood I suppose.

Meantime, sending entry forms to Yamagata, off next year in autumn, and Jeonju, this coming spring.  And DVDs were already sent to Rotterdam and they confirmed, after a bit of a wait, finding them somewhere in the avalanche of other films which our brave new digital world has begotten.  So we’ll see if the Dutch will be interested.   Thus far The Narcissus Flowers of Katsura-shima has accrued Dear Jo(h)n letters from Venice, Toronto, the Florence Festivale dei Popoli, the Margaret Mead conclave in New York and there must be another one or two as well.  Working on those films for (n)one. [Update, early December: Rotterdam also said no.]

Postscript:  Rummaging around in my computer files I bumped into this, written for Chris Fujiwara at his request, and then posted in FIPRESCI journal.  Chris is now director of the Edinburgh Festival.

The Big Circus

By Jon Jost

I guess I’m now an old-timer for the festival world. I’ve been going to them since 1977 I think. Berlin and Edinburgh, Deauville and Taormina. Way back then there were only a dozen or so festivals worth the name, each with its own characteristic value. Today there seems to be a festival for every day in the year, a grand “International Film Festival” of whatever obscure place you can imagine, for whatever genre and taste.

When I first went to festivals there was a practical purpose to it: festivals would get you exposure, they would provide a springboard to make a sale, for those with more commercial work it was a form of advertising. Some of this still holds true in Cannes, and perhaps a few more places. But in reality those functions have stopped. For commercial films, festivals are now a marginal matter, a little icing on the PR cake; but for non-commercial films they are almost the only matter.

Way back then there were arthouses, and little boutique (they didn’t use the word back then) distributors to serve them. Now there are virtually no arthouses and no such distributors. What once existed as a market, however small, no longer exists.

Instead what exists is an exhibition system that doesn’t pay, or in reality requires the producer/artist to pay. Most festivals require a submission fee and in effect work as a vanity press combined with Lotto. You pay to roll the cultural dice and if you win, your film gets shown at your expense. Those who can play this game – art films are still made, but they are made in the cultures which subsidize these films in the name of making their culture known on a global scale – are those able to pony up the entrance fee, make prints, crank out a bit of promo material, and exhibit at festivals. In general that’s it unless the film is basically commercial in quality, and has some effective hook – a star, a star director, a good genre story – that lets it escape the festival zoo and find a broader public. Few and far between.

So festivals have changed from being one step toward an audience to being the audience, and hence they have become a kind of cinematic ghetto, where a certain kind of film obtains a fleeting life – a page or less in a catalog, an audience of twenty or 2000, perhaps a festival circuit shooting-star life of another ten lesser festivals, and then a year later, oblivion.

The blame for this can be attributed to a number of things, the main one being the victory of Market Economy Capitalism (otherwise known as globalism), in which the primary measure of value is money, the more the merrier. According to this system there really are no other values. Crammed down the world’s throat by the IMF, World Bank, and other American-controlled entities, this has resulted in the jettisoning of any cultural values that don’t equate to the maximum profit. Another likely cause is the organic nature of culture, that it grows and dies like any living thing. Cinema seems peculiarly transitory this way, just as the flicker of 24 fps of light is, with cinema cultures flourishing briefly – Italy, France, Germany, Portugal – and then quickly falling into decadence. Currently the most vital cinematic cultures seem to be in Asia, particularly the Philippines and Southeast Asia, and some places in South America. In this floating world of cinematic flashpoints, it is natural that festivals flare and fade in synchronicity with the cinematic cultures which surround them. Where once Italy had a vital film culture, Venice played a second fiddle to the grand old lady of Cannes. Now Venice is a glitzy momentary blip on the festival calendar, forgotten the week it concludes. Cannes has a half-life slightly longer, but not much.

Ironically, being one of the few places where one can see serious, non-commercial cinema, festivals are utterly mis-tuned for such work. Festivals are circuses, places of non-stop partying and low attention spans, with a plethora of too many films to be seen; places where a film is sized up in minutes, and abandoned if it hasn’t hooked – after all there’s another one starting in ten minutes 100 meters down the street. Lots of serious cinema doesn’t work that way. And then serious cinema, like any serious art, requires attention, concentration, and time to absorb after the fact. Festivals are the opposite, a massive flush of films, one after the other, simultaneously, each shouting for attention, with no time for reflection. If this sounds like the jaundiced view of a burned-out festival participant, it is.

And yet, at least for this cultural cycle (I’m privileged to see things in a somewhat long range – if not so long as Manoel de Oliveira), festivals are about all we’ve got – to show my films, or see those of others in the same predicament. So a few words on one recent one with which I’m now quite familiar – Jeonju.

Located here in Korea in a small city a bit south-central on the peninsula, I’ve been to it since its inception in 2000. First time out it was a beautifully organized festival with a swarm of ever helpful student volunteers, who kept inquiring, “Are we doing good enough?” Their anxiety betrayed a provincial sense of inferiority that was utterly unwarranted. Even in their first year they had a very good selection of films, real audiences, and ran circles around the organization of a lot of festivals I’d been to. Since then Jeonju has blossomed into a really impressive festival, with consistently high audience levels for a range of interesting filmmaking from around the globe, with retrospectives accorded to the likes of Béla Tarr and Jerzy Skolomowski, Alexander Kluge and Pedro Costa. Naturally, Jeonju has become a beacon for Asian filmmakers, and seems increasingly recognized in the wider world.

In addition, for some years they’ve sponsored a digital filmmaking project, handing out a very good budget to three filmmakers each year to make a half-hour long film. Putting their money where their mouth is.

Naturally such a gathering brings in a good number of critics, mostly Asian-based, and the festival has provided space for serious discussion from the critical standpoint. In 2009 there were “master classes” by Raymond Bellour on “Trafic and the films of Philippe Grandrieux” and “Chris Marker and Level Five”; by Richard Porton on “WR: Mysteries of the Organism – Anarchist Realism,” and by Adrian Martin on “Manny Farber: Creative Criticism.”

So while the general picture from the festival world deserves a cynical eye (are some of these festivals I’ve sent DVDs to and never heard from again merely rackets for making a weird collection of DVDs to crank out locally and sell?) and perhaps from a filmmaker’s viewpoint a bit of caution, there remain some bright spots, where film is taken seriously and space is given outside the glittering glamor-struck spotlights of Cannes and Venice and Berlin. Short-lived but lively festivals come and go, and others like Rotterdam and now Jeonju, which have staked their ground and grown, still maintain an integrity which for the most part seems absent elsewhere. And perhaps, before I drop dead, the cultural cycle will roll over and film/video of a certain serious kind will again find a place in the larger world, one that might even offer the hope of making a living! Until then it’s a handful of festivals, and in my case, a belated teaching gig.

I note that since the above was written the director of the Jeonju festival was fired, I quit my teaching job, and my work has been rejected by a mess of festivals!

Chained Relations (6)

[If in NYC, there will be a benefit screening for Mark at Videology; they have a Facebook page up here.  If in the area, check it out.]

Back a few weeks ago, the petition tipped over the 1000 mark we’d been aiming for, and my collaborator on this, Daniel Levine, printed it all up and delivered it to the heads of the Communications and the Film/Television Departments at Boston University.  Below is his report on what happened.

Hi everybody, my name’s Daniel Levine, and I’ve been the silent partner in the effort to get Mark’s films back. Because it would be prohibitively difficult for Mark or Jon to get to Boston, I went in person on Friday afternoon to deliver the printed petition along with some contextual supplements to Paul Schneider, Dean of the BU school of Communications, and Tom Fiedler, head of their Film Department.

First, the good stuff. Both of them responded to my e-mails requesting meetings very quickly. They’re very aware of this situation, Fiedler more so than Schneider. They were both very courteous and as far as I could discern, straightforward with me regarding the situation as it stands. Their office complex has a very fancy coffee machine, which brewed me a correspondingly fancy cup of coffee.

Now the other stuff. Both meetings were fairly similar, so I’m going to outline the position both Schneider and Fiedler gave me in shot instead of describing both meetings. And it should be noted that when I say “BU” here, I mean specifically Schneider and Fiedler.

BU claims that they can’t do anything until they can prove that Carney was specifically acting as a representative of BU or presenting himself as acting as a representative of BU when Mark gave him the films. They claimed to have checked for the FedEx invoice showing the films were sent using BU funds but haven’t found anything, though that’s as likely because it was thrown out/lost as anything else. They also claimed to have checked with FedEx for a record of it, but said FedEx only keeps two years worth of records.

I asked each of them if Carney’s storing the films at BU would constitute involvement and each of them said they weren’t sure where he would have stored them as the Communications school doesn’t have an area for archives that would hold such things. Not knowing the building, I had no idea where to even begin trying to verify that. If any BU students could speak to this, it would be appreciated. I imagine their library might have such an archive and the corresponding records, but wasn’t able to check there before Sandy came to town. If anyone would know where/what to check in the library records, that would also be appreciated.

Regarding the issue of whether Carney perjured himself, Schneider, who had spoken with BU’s lawyers regarding the issue and is Fiedler’s administrative superior, claimed that unless a judge had actually declared the inventory mismatch to be perjury, BU couldn’t make a statement or take action on it either way. He seemed much more nervous than Fiedler, and did a double take when he saw just how many signatures we’d collected. From Schneider’s/the BU lawyers’ standpoint, they couldn’t officially consider the matter to be anything more than two guys claiming various things. Also, without access to the inventory of Mark’s work, he and the lawyers couldn’t verify one way or the other if the alleged perjury happened. He also said that the materials could have fit in Carney’s office. I didn’t get to see Carney’s office, but it seemed plausible.

Fiedler said that since Carney isn’t teaching this semester, he has no power to compel him to show himself or be reachable. However, come the winter semester, this is no longer the case, as Carney will be teaching the course “American Independent Film”, including, I imagine, at least one Mark Rappaport film on the syllabus.

For a faculty that supposedly has been out to get Prof. Carney, at least according to Prof. Carney’s own voluminous diatribes, they seemed pretty mild mannered about the whole thing. To hear Carney’s side of it, you’d think they’d have jumped at the first chance to get rid of the guy.

Whether this is all waffling or not isn’t my place to decide. But it should be said that the number and distinction of the signers of the petition made an impression on both of them, and I think put some pressure on. If I have to go to Boston for another meeting, I will. As it stands, Schneider asked me to e-mail him again in a couple weeks to check up on whether any breakthroughs have been made. If anything else does happen, I’ll write another update.

My own view of this encounter is that, though I understand those at Boston University would dearly love to be rid of Mr Carney, they nevertheless are creatures of a somewhat rigid institution: a university.  Hence their heads stay in the fox-holes, necks are not put out, and it is CYA as usual.  It will clearly take either a smoking gun, or extraordinary external pressure to get the institution to move.

At present Fed Ex has made 6 attempts to deliver the Petition to Professor Carney directly, to multiple addresses where he allegedly resides.  So far these attempts have failed.  It seems rather clear Carney is in effect, “in hiding.”   Perhaps he is sequestered to concentrate on some magnum opus, perhaps even on his favored filmmaker Mark Rappaport.  Or perhaps he is in deepest denial.  His absence leaves everything open to speculation, which I imagine is a very much intentional tactic on the Professor’s part.  Perhaps he imagines this will all blow over and be forgotten in the wake of Hurricane Issac, the election, and the coming follies of our national consumer-Christmas and drunken New Year.  And then, when he re-materializes for his spring class of teaching “American Independent Cinema” he’ll be welcomed by eager students, ready to sit before him and lap at his fount of wisdom.

Below is a listing of those who signed the petition thus far, and the comments left by some of them, compiled by Mark Rappaport.

October-November 2012
To the Reader of this letter:

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The names on the attached petition were all signed in response to Jon Jost’s on-line petition on behalf of Mark Rappaport, whose films are being held hostage by Ray Carney for no apparent reason.  The petition remains on line and is available for signing at  https://www.change.org/petitions/ray-carney-return-mark-rappaport-s-films

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There were well over a thousand signatures in just a week, responding to a call to arms. I admit quite frankly I don’t know who most of the people are, what their backgrounds are, or what their resumes are like. I can only assume that most of them are very interested in films and their proper preservation. It’s tempting to lead off with the celebrity names because they always attract the most attention. But all the names, for a variety of reasons, are very important. And the sense of outrage as expressed in the comments are fairly unanimous.

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To start at the beginning, the following people from world-renowned film archives and film museums have signed—

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Costa-Gavras, Bernard Benoliel (Cinematheque Française)
Chema Prado, Catherine Gauthier (Filmoteca Española)
Alexander Horwath (Vienna Film Museum)
Alberto Barbera (Museo Nazionale Di Cinema)
Martin Koerber (Deutsche Kinemathek)
Caroline Yeager, Dan Wagner (George Eastman House)
Jan-Christophe Horak (UCLA Archives)
Geoff Andrew, former director Ian Christie (British Film Institute)
Jed Rapfogel (Anthology Film Archives )
Rick Prelinger (Prelinger Archives)

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Film festivals—

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Kent Jones (New York Film Festival)
Alberto Barbera (Venice Film Festival)
Alexander Horwath, former director (Vienna Film Festival)
Gertjian Zuilhof (Rotterdam Film Festival)
Chris Fujiwara (Edinburgh Film Festival)

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Many peoples’ names appear on this particular list twice, since they do many things, including writing.   Distinguished film historians, critics, academics, and/or film theorists, not in any particular order —

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Thomas Elsaesser, Bernard Eisenschitz, Tag Gallagher, Thomas Gunning, James Naremore, Joseph McBride, Jonathan Rosenbaum, Ian Christie, Raymond Bellour, Nicole Brenez, Adrian Martin, Carrie Ricky, Kristin Thompson, Godfrey Cheshire, Matt Zoller Seitz, Jacques Aumont, Richard Kozarski, David Ansen, Antonio Weinrichter, Marcos Uzal, David Edelstein, Carlos Herederos (editor of Cahiers du Cinéma España), Jean-Michel Frodon (former editor of Cahiers du Cinéma), David Bordwell, B. Ruby Rich, Michael Sragow, David Ehrenstein, Ella Taylor, Kevin Thomas, Chris Fujiwara, Kent Jones.

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Many, many heads of film departments and film teachers.

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Filmmakers, not in any particular order—

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Costa-Gavras,

Atom Egoyan,

John Waters,

Gus Van Sant,

Barbara Kopple (2-time Oscar Winner),

Susan Seidelman,

Tom Di Cillo,

Guy Maddin,

Monte Hellman,

Olivier Assayas,

Bela Tarr,

Jim Jarmusch,

Christian Petzold,

Jim McBride,

James Schamus.

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Avant-garde filmmakers (although I don’t know why this should be a separate category)—

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Ken Jacobs,

Monika Treut,

Thom Anderson,

James Benning,

Su Friedrich,

Mattias Müller,

Bette Gordon,

Peter Hutton,

Sara Driver,

Andrés Duque,

Jackie Raynal,

Lewis Klahr,

Caveh Zahedi,

Maria Cañas,

Jay Rosenblatt,

Andy Horn,

Manuel DeLanda,

Emily Breer,

Anita Thacher,

Robert Beavers,

Phil Solomon,

Leslie Thornton,

Tom Kalin,

Heinz Emigholz,

Jon Jost.

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Documentarians—

Deborah Schaffer,

Mark Daniels,

Bill Brand,

Christine LeGoff,

Jacki Ochs,

Amalie Rothschild,

Stephanie Black.

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If there are any names I overlooked, omitted, or simply did not recognize, I humbly apologize.

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Let me also say that Francine Prose, the novelist, and Alberto Manguel, author of the international best-seller, “The History of Reading,” countless anthologies, novels, and essays, have signed.

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And because they are not in any category but are indelibly linked to film history, I would like to mention Luce Vigo, daughter of Jean Vigo and champion of documentary films, Marisa Paredes, star of several Almodóvar films (“The Secret of My Flower” and “All About My Mother,” among others), as well as films by Raul Ruíz and Manuel Oliveira, Christa Fuller, widow of Sam Fuller, and Isabelle Weingarten, the lead in Bresson’s “Four Nights of a Dreamer,” as well as films by Jean Eustache and Wim Wenders.

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Whether the signatories are famous or not, whether you, or even I, recognize their names or not, is irrelevant. They are all united in being appalled by Carney’s behavior, and they demand the immediate release of Mark Rappaport’s materials to their rightful owner.

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Thank you for your interest and concern in this matter,
Mark Rappaport

Supporters’ Comments

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About one-third of the signatories chose to make comments. They are printed below.  Starting are those “most liked.”

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su friedrich BROOKLYN, NY

No one but the filmmaker has the final right to their work, so there is no excuse for not returning work to the maker if they request it.

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Kristin Thompson MADISON, WI

Obviously all this material should immediately be turned over to Rappaport. If Carney has no sense of decency, he might at least consider the damage his actions have and will cause to his standing in the academic community.

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Ken Jacobs NYC, NY

To help protect the work of one of our best film-artists, and to see that it’s properly returned to him.

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Martin Koerber BERLIN, GERMANY

Assuming Ray Carney was acting as an archivist who wanted to help Mark Rappaport when he moved out of the country, let me say as a fellow archivist that the right of the artist to withdraw, for whatever reason, and certainly for the reason of making the works

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Monte Hellman LOS ANGELES, CA

I’m a filmmaker, and can personalize empathize with this horror.
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ALL OF THE COMMENTS BELOW ARE EXACTLY AS THEY WERE WRITTEN, WITH NO TAMPERING OR TWEAKING, IN THE ORDER IN WHICH THEY WERE ENTERED—THE MOST RECENT ON TOP.

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Achim Forst MAINZ, GERMANY

If even only the main facts of Jon Jost’s petition are true Mr. Carney is a shame for the international film science community. He should return the material immediately for his own sake – in order to save at least party his reputation.

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roz payne RICHMOND, VT

justice for our films

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David Bordwell MADISON, WI

I’ve waited to sign this to see if Carney emerged from his undisclosed location to surrender Mark Rappaport’s work, or to at least give his side of the dispute. But after several months Carney maintains secrecy and silence. So I too declare my support for Rappaport’s very reasonable request to recover his materials.  And two lessons for filmmakers: Deal with real archives, not individuals. And get it all in writing! Real friends don’t mind preparing contracts and receipts.

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Rodney Hill ELMONT, NY

As a film scholar myself, I am shocked at this situation. In a “previous life” I worked on the distribution of some of Mark’s films and consider him a friend as well as a very important filmmaker.

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Jeffrey Economy SAUGERTIES, NY

As a filmmaker who has weathered similar storms, I know all too well the horror that comes from a trust betrayed. Do the honorable thing, Ray. You know in your heart what is right.

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Rob Mattheu LOUISVILLE, KY

Ray Carney spent years touting Rappaport. The idea that he’d be unwilling to give his stuff back is appalling, especially for a man who claims to be a film scholar. Grow up, Ray.

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Thomas Meade SAN FRANCISCO, CA

I never thought I’d find myself in the position of having to petition against Ray Carney. I was a full time student of his for three years and during that time he introduced me to artists that have been some of my greatest influences. Like many people here, we are familiar with Mark’s work through Carney’s lectures and writings. Mark even came to visit one of Carney’s classes to show what was then his current work, “From the Journals of Jean Seberg”. I don’t care to entertain what might be behind the reasons for his behavior, but Mark’s work should be returned to him immediately and without question.

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Noak Esbjörnsson HELSINGBORG, SWEDEN

Mark Rappaport is one of the greatest film makers of all time. He has the right to his own work.  What Carney has done is appaling, and quite shocking considering who he is. It’s a bizarre and unfair situation which I hope will be resolved in favor of Rappaport.

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Alexander Schmidt GERMANY

Every filmmaker or in fact any artist whatsoever should have access to his material

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Jamie Kirkpatrick NEW YORK, NY

As an alumnus of Boston University with a degree in Film Production, I find it appalling that this issue has even gone this far. Professor Carney has no rights whatsoever to an artist’s work and every delay in returning them only tarnishes the reputation of Professor Carney and Boston University.

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Fred Truniger ZURICH, SWITZERLAND

isn’t it obvious?

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Fred Murphy ASC NEW YORK, NY

Marks’s films are important ,should be seen often and he needs access to them.

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Matteo Pollone REVIGLIASCO TORINESE, ITALY

Is a matter of justice and good sense.

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Ruth Keusch JERUSALEM, ISRAEL

Mark is a great film maker and his material belongs to him alone. One really cannot allow anyone to take, destroy or make use of what he has done. Hopefully all of his property will go back to him.

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tomas savrda KENT, CT

I have seen this film years ago on TV. I do not recall much, but it has left an impression on me and I would love to see it again – it is a crime and selfish act to prevent the public from viewing it for whatever personal reasons.

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Darrell Wilson STATEN ISLAND, NY, NY

Mark Rappaport’s works are National Treasures and Carney is a thief who has committed a horrible crime.

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Christopher Harrrs OVIEDO, FL

Simple decency.

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Barbara Moss NY, NY

As both an alumni of Boston U School of Communications and Founder of Women’s Film Preservation Fund I am simply appalled to read of this travesty of justice. Shame on this Prof of Film.

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Max Rouzier BALLSTON SPA, NY

This is a moral, ethical and disturbing act on many levels, professional and socially. I refuse to allow a colleague or institution like Boston University allow this to continue.
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Sergio F. A. D. F., MEXICO

I love Ray Carney’s work, but I’d hate myself if I didn’t sign this. I sincerely believe it’s the right thing to do.

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Adam Hirsch LOS ANGELES, CA

It’s critical that the international film community stands together to state that filmmakers have full rights to their work.

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Paul KaayaLONDON, UNITED KINGDOM

I do not think stealing is ok.

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Steve mcCrea FORT LAUDERDALE, FL

I make films, Seba (a filmmaker) passed this petition to me, I trust Seba and I believe the story as written in the petition needs some sort of action. I hope Dr. Carney returns the materials to Mark

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Janet Cole BERKELEY, CA

I am appalled.

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Jane Piliavin OXNARD, CA

This is a crime. Theft of intellectual property. The guy should lose his tenure, and then some. I am a Professor, and this offends the intellectual community as a whole.

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Peter Aaron HUDSON, NY

I shot one of Marks films and want to see them returned to him.

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jan kroeze NEW YORK, NY

I am a long time admirer of Mark Rappaport and his work, and theft of intellectual property is abhorrent – in particular to people in our industry.

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Patricia Costello WEST NEW YORK, NJ

Too often artists “lose” or more accurately have their works of art stolen by people who think they can take advantage of people.

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Susan Martin-Marquez HIGHLAND PARK, NJ

I can’t imagine any possible justification for this behavior from a fellow academic. We should be trusted stewards and ethically-engaged commentators–not thieves–of artistic legacies.

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Anne Demijttenaere CALCATA (VT), ITALY

Personal concern

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Nigel D’Sa MISSISSAUGA, CANADA

Outrageous audacity

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Tiruvadi Jagadisan INDIA

AM AGAINST ALL KINDS OF FRAUDULENT DEALINGS

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Jacki Ochs NEW YORK, NY

An outrageous act of theft perpetrated on a beloved indie artist.

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Leslie Ross SEATTLE, WA

It is so very important to stand together in support of this great artist and to maintain our collective humanity. Thug, narcissists like Carney need to be shut down for all of our sakes.
Judith Redding PHILADELPHIA, PA

It is important that filmmakers be able to retain the rights — physical as well as creative — to their materials when no written contract has been made to turn over such rights. Professor Carney, by refusing to return these materials to Mr. Rappaport, is not only in violation of the law, he is in violation of the ethical standards that he, as professor at Boston University, is entrusted with upholding. His actions show that he cannot be considered “the leading scholarly authority on American narrative art film” when he shows no respect for the makers of those films. Professor Carney has not only destroyed his own reputation, but he has also tarnished that of the institution he works for.

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Khavn De La Cruz QUEZON CITY, PHILIPPINES

The truth will set you free.

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Lewis Beach REDDITCH, UNITED KINGDOM

I do not believe that any other party should hold the rights to creative material that excludes the authors input and possession. This is a blatant breech of human creative expression to will only go to marginalize film makers and artists. Disgraceful.

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Sebastiano Tecchio ROME, ITALY

Sad and squalid scavenging… not tolerable!

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Davide Sebastian ROME, ITALY

My source of inspiration!

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paolo buggiani ROMA, ITALY

for justice

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cinzia sarto ROMA, ITALY

Mark Rappaport’s films have been my source of inspiration and delight for years.

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Michelle Citron CHICAGO, IL

I’m a filmmaker and fully support any filmmaker’s right to own and hold their own work.

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Laura Boyes DURHAM, NC

It’s outrageous that an artist could be denied access to his own work.

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Gerwin Tamsma ROTTERDAM, NETHERLANDS

While we can only hope Rappaport would be able to return to making films, the immediate need to return his films to him is obvious.
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Dario Marchiori FRANCE

If that’s true, it seems to be just a “Greed” case. (“[Academic year] salaries for full-time faculty averaged $73,207. By rank, the average was $98,974 for professors, $69,911 for associate professors, $58,662 for assistant professors, $42,609 for instructors, and $48,289 for lecturers. Faculty in 4-year institutions earn higher salaries, on average, than do those in 2-year schools. In 2006–07, faculty salaries averaged $84,249 in private independent institutions, $71,362 in public institutions, and $66,118 in religiously affiliated private colleges and universities.”)

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Amalie R. Rothschild NEW YORK, NY

As a fellow independent filmmaker I support Mark Rappaport’s rights to his own creative property. This situation is unfathomable.

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Mark Eliot Rappaport SETAGAYA-KU, JAPAN

I’ve been a fan of Mr. Rappaport’s work for many years, not because we share the same first and last names, but because he is one of the most original filmmakers in the history of independent cinema. Shame on Ray Carney for holding Mr. Rappaport’s work to ransom.

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Tom Whiteside DURHAM, NC

Fair is fair, unfair is unfair. Give him his films.

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isabel Aboim-Inglez LISBON, Portugal

The right to intellectual property is a basic human right … the films reflect the thinking of Mark R and this cannot be stolen by others.

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Grant McDonald AUSTRALIA

In honour of Ilona Staller who before the outset of the Gulf War offered to have sex with Iraqi leader Saddam Hussein in return for peace in the region, I am willing to have sex with Ray Carney if he will return Mark Rappaport’s material immediately. He should do so anyway.

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Zelia Trueb EAST GREENWICH, RI

Professional Ethics.

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Steve Anker VALENCIA, CA

The creative work of independent filmmakers is sacrosanct and should be respected at all costs and above all other matters. Period.

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kristin hondros CHAPEL HILL, NC

Trust and community, to protect the work of MR, his legacy, and the future accessibility of his work.
Michael Cusdin AUSTRALIA The films belong to the filmmaker.Give.Them.Back.

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Manas Bhattacharya INDIA

What Ray Carney is doing is outrageous and unpardonable. Mark Rappaport’s films belong to him. I sincerely hope he gets his work back without further ado. Cinephiles and scholars across the world deserve a chance to get to see Rappaport’s work.

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Mary Dore BROOKLYN, NY Filmmaker,

this is theft.

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Helen Bandis AUSTRALIA

Mr. Carney needs to put his ego to rest. Return Rappaport’s films!

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Dimitry Heu-Mojaïsky FRANCE

Things like this really shouldn’t happen.

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philippa bateman AUSTRALIA

Theft and lying under oath? A filmmaker who is denied access to what is his? It’s a disgrace

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Jerry Lentz LORETTO, TN

Isn’t this clearly the right thing to do?

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Ian Christie LONDON, UNITED KINGDOM

Bizarre, incomprehensible behavior. Why is Ray Carney doing this – and what does he hope to gain? For goodness sake let’s get Mark Rappaport’s work back into circulation, after too long an absence!

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Neil McGlone IPSWICH, UNITED KINGDOM

An artist should not be denied access to his own work. He gave the items in good faith not as a permanent measure.

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Ian Price HOUSTON, TX

An artist’s work is theirs

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Helen Bandis AUSTRALIA

This is theft. And then he lied under oath? Why is he still employed?

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Christopher Hayden SARATOGA SPRINGS, NY

I respect Mr. Carney’s voice and work, but it seems to me he’s overstepped his bounds here.

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Noel Murray CONWAY, AR

Mark Rappaport helped change the way I think about movies, and deserves to keep doing so for others, with his original materials.

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Lisa Zimble VENICE, CA

I love Mark — and his films — and it’s NOT fair.

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Amin Chaou iWOODBRIDGE, VA

Give Rappaport what is his!

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Brian Robertson RALEIGH, NC

A no-brainer.

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Rodney Welch ELGIN, SC

The situation as it stands is an absolute no-win outrage. In denying Mark Rappaport access to his work, Raymond Carney is violating a man’s sincere trust and no doubt ruining his high esteem in the critical and academic community. Mark Rappaprt’s work should be returned to him now.

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Olga Smakova TORONTO, CANADA

Mark Rappoport is my colleague. I want to help him.

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ANTONIO WEINRICHTER SPAIN

The relevance of Rappaport’s filmworks is out of the question. Besides, this is a scandal, a steal.

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Niki Logis ALVA, OK

Ray Carney: why would you disgrace your entire career in order to prevent Mark Rappaport from regaining his film work? Neither greed nor petulant madness answers this question. Perhaps you have been seized by the desire to know Sin firsthand. A Nietzschean question.

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Berenice Reynaud VALENCIA, CA

Trust. Mark Rappaport trusted his work to somebody he considered a friend, and his trust was betrayed. Art. Mark Rappaport is one of the most important/talented independent filmmakers making work that question the film medium as such, and his work should be made accessible to everybody who wants to see it. History. Let’s not allow a part of the history of cinema, to be eradicated. Justice.

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Cornelia Kiss LOS ANGELES, CA

Because apparently Carney is a thief and I’m an independent filmmaker and know what it takes to make a film.

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Eva Perusic PRAGUE, CZECH REPUBLIC

Mark is a fabulous documentarist, trusty as well and his materials need to be returned to his ASAP!!! SHAME!!!!

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Justin Talaga CHICAGO, IL

As a young filmmaker, I stand behind the rights of all other filmmakers, especially in nightmare scenarios, like this one.

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john mount READING, UNITED KINGDOM

Mark Rappaport is an extremely fine film maker and his films deserve to be seen by a much wider audience, they are also the product of his own creative efforts and should belong to him

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Tanner Tafelski NEW YORK, NY

Rappaport is entitled to the art he created.

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Matthew Clayfield AUSTRALIA

Ray Carney thinks he owns certain filmmakers. He does not.

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David Leitner NEW YORK, NY

Droit moral, moral rights of artists, are weak enough already in this country. But this is theft, plain and simple

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José Alves Pereira LISBOA, Portugal

the owner is the creator not the depositary.

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Vicci Ho AUSTRALIA

Mr. Rappaport’s property should be returned to its rightful owner.

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José Bogalheiro LISBOA, PORTUGAL

An archive should not be a tomb. Give life to the creative work of MR.

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Christine Le Goff FRANCE

To lose his film originals is a filmmaker’s worse nightmare, the erasal of an exceptional body of work. Mark does not deserve what has happened. Return his films.

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ANNE LE BECHENNEC FRANCE

Le travail d’un artiste doit être protégé de toute personne venale!

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Jan Philipe Carpio MAKATI, PHILIPPINES

I consider Ray Carney’s one of my mentors in filmmaking, art, and life from a distance as I have never met him personally but have been a long time admirer of his work for championing American independent filmmakers like John Cassavetes, Mark Rappaport and Jon Jost. It was through his work that I came to learn of these artistic voices outside of studio approved blockbusters. His work has been extremely formative in my work as an artist and filmmaker. His current actions regarding Mr. Rappaport’s work are appalling and baffling. I will always admire his work but I cannot and will not condone and support his actions towards Mr. Rappaport. Professor Carney, please, you are destroying everything you have stood for by doing this. Please return all of Mr. Rappaport’s work immediately and issue a personal and public apology. I make this personal appeal to you as an honorary student of yours who still hopes you will do the right thing.

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Kevin Thomas SANTA MONICA, CA

Because an artist’s rights are at stake–and because Jon Jost has gone through a not dissimilar experience himself.

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Richard Koszarski TEANECK, NJ

Unless Prof Carney can produce a lot of serious paperwork, he needs to return this material to its creator without further delay.

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Christopher J. Adams WHITMAN, MA

The theft of an individual’s art should not be defended or excused by anyone.

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Patricia Kelley CHICO, CA

I too have been a victim of theft of my art, more than once. It is devastating and negates your worth as an artist to yourself and to others.

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Richard T. Jameson SEATTLE, WA

Someone really should explain to Carney that he doesn’t own filmmakers.

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Wendy Lidell NEW YORK, NY

Archivists and distributors exist to serve and support the work of the artists we love and respect. Carney’s actions do neither and thus attest to the fact that he doesn’t.

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Aaron Gerow HAMDEN, CT

There damage here is not only to the artist, but to the notion of archiving. That hurts all of cinema.

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Elizabeth Verry PARIS, FINLAND

independent artists are not alone but a large community all around the world ready to support each other

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Bernard Eisenschitz PARIS, FRANCE

An artist’s right to get his own life’s work back must be recognized, even though he misplaced his trust in a false friend.

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Mark Daniels FRANCE

Mark is the owner of the work he created. Not returning it is theft.

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Ania Trzebiatowska NEW YORK, NY

We have to look after the most valuable things we are lucky enough to be around. And Mark Rappaport’s films are exactly that..

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Rémi Guittet MONTREUIL, FRANCE

Free films !

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Janine Prins AMSTERDSAM, NETHERLANDS

Cultural heritage should be safeguarded as well as authorial ownership

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Ingo Petzke AUSTRALIA

Such behavior is absolutely disqualifying for any academic anywhere in the civilized world

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debarshi ghosh CALCUTTA, INDIA

it is about individual rights. Ray Carney did wrong

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Nikhila H HYDERABAD, INDIA

It’s a question of ethics in the academia

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Vincent NORDON FRANCE

I have the same problems

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Candace Reckinger LOS ANGELES, CA

Return these works to the artist who made them! This is his life work, his legacy, and he should benefit from income that may be generated thru new distribution routes.

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Jason Simon STATEN ISLAND, NY

To Stop a Thief.

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Shruti Ghosh AUSTRALIA

I am pursuing my PhD in film studies-performance studies. This incident is alarming to me in many ways. As a student and lover of films I am induced to join the cause.

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lara hannah BROOKLYN, NY

stop the boycott of MR’s work

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Greta Schiller NY, NY

Filmmakers should own their work.

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Sarah Schulman NY, NY

Friend of Mark’s and filmmakers everywhere.

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Richard Wilson CHICAGO, IL

Why wouldn’t it be?

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Vorakorn Ruetaivanichkul BANGKOK, THAILAND

I’m filmmaker also and I want to reserve the right in the work of us.

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Tony williams CARBONDALE, IL

Rappaport is not only a great film maker but also a distinguished critic. He does not deserve to be treated like this. A complaint should also be made to Carney’s Dean.

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Robert Furze DUBLIN, IRELAND

Enough is enough. Morality in academia matters, as it does in all aspects of life

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Della Kweskin DES MOINES, IA

Mark is a fantastic person and deserves to have his films back!

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anne marie poucet FRANCE

parcequ’il est toujours insupportable de voir un artiste spolié de son travail. La même mésaventure est arrivée en France à certain nombre de cinéastes (le dernier en date: Pierre Etaix) et que seule la mobilisation des gens de cinéma peut faire bouger les choses

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Vincent Novak SHELTER I., NY

to right a wrong

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Celluloid Liberation Front HELL, UNITED KINGDOM

It is a more sensible alternative to the kicking of Ray Carney’s ass…

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Ben Coccio LOS ANGELES, CA

Jay Carney sent me all of his notes, his writings, his correspondences; really, his entire life’s work. He just gave them to me. Right there on the internet. So when I publish the authorized, exhaustively researched, and definitive story of his life in conjunction with a retrospective show of all his most important lectures, lovingly reenacted by some of today’s most respected and daring performance artists, I’m sure he will be extremely proud. But I won’t give him one thin, red dime of what I make on that shit.  In all honesty, I think Mr. Carney is simply afraid. In the last 7 years, new options of distribution have developed which allow true independent filmmakers to distribute their work easily to a larger audience. This is a huge opportunity for a filmmaker like Mark Rappaport. It also must be horribly threatening to a self-proclaimed cultural gate-keeper such as Mr. Carney.

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jean-pierre Garcia AMIENS, FRANCE Shame on professor Carney ! Jon Jost is right when he says : ” This is especially shocking in the so-called “independent” film world in which people struggle for years to make films, with very little if any recompense. ”

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Robert McChesney GALWAY, NY

It is a trust issue that has gone sour motivated by greed.

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Javier PACKER COMYN BRUSSELS, BELGIUM

The right of an artist on his or her work should stand above everything.

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yara ebrahim CAIRO, EGYPT

Why is this important? Because Mark Rappaport is as important as a filmmaker could be, and what he made is what makes him important, and what he made shall be all in his hands.

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Jennifer Testa PLEASANTVILLE, NY

This is an appalling situation

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Peter Barton NEW YORK, NY

Preserving my work as a filmmaker is important to me. Don’t want to see another filmmaker lose his legacy.

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C. Mason Wells BROOKLYN, NY

I didn’t think it was possible, but Ray Carney is managing to make Mark Rappaport’s brilliant movies even tougher to see. Return the work.

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Carol Klenfner NEW YORK, NY

the materials belong to Mark
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Makbul Mubarak SEOUL, KOREA, REPUBLIC OF

Mark Rappaport is as important as a film maker could be. What he made is what makes him that important, what he made shall be return to his hands.

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Matías Piñeiro NEW YORK, NY

because independent directors must have the rights to their work and no confinement of it should be allowed.

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Chuck Workman NEW YORK, NY 10022, NY

In my experience, archives often take the responsibility of preservation a little too literally and I’ve found fight the original donors of the material when they ask for access, as if they’re now the keepers of that particular flame. To ask for money on top of this adds insult to injury. Prof Carney has actually been known to be reasonable and smart and should come to his senses on this outrageous act. It’s precisely the work of filmmakers like Mark Rappaport who have to be served not restricted.

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Prof. John Smith LONDON, UNITED KINGDOM

As an artist and filmmaker this situation sounds like my worst nightmare.

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James Benning VAL VERDE, CA

Justice

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Joe DreierLONDON, UNITED KINGDOM

filmmakers have the right to their films unless they have sold their copyright

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Edie Bresler SOMERVILLE, MA

Mark Rappaport is a brilliant filmmaker who made the mistake of trusting Ray Carney. Carney needs to return all films/videos and any materials immediately to their rightful owner and stop stealing another artist’s work.

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Mischa Deimel AUSTRALIA

If Ray Carney had any decency he would return Mark Rappaport’s materials to him so that his work would be made available for streaming.

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Aaron Cutler SãO PAULO, BRAZIL

Because a filmmaker’s work always is.

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Madhuban Mitra INDIA

There can be no earthly reason for any scholar to deny an artist access to his own work, as also stop the work from reaching its potential viewing public.

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Rebecca Lieb NEW YORK, NY

Because Mark is a friend, and because theft is unconscionable under any circumstances, but even more intolerable when an academic commits the crime.

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Lana Lin NEW YORK, NY

Protect artists’ intellectual property

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Paula Massood NEW YORK, NY

These materials should be returned to their maker rather than being hoarded away in someone’s personal collection.

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Thomas Elsaesser NEW YORK, NY

It should be self-evident that Anything given in trust must be returned to the rightful owner if so requested.

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Paul Krimmer VIENNA, AUSTRIA

to see but to play blind is a social affront. what does the word cooperation mean to these (educated?) people? [rhetorical question]

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Georg Alexander BERLIN, GERMANY

Mark is a highly talented filmmaker who should by all means have control over his own work , including physical possession.

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Fabrice Ziolkowski FRANCE

As a filmmaker, I can only support other artists who are trying to keep some modicum of control over their work.

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ricardo iscar SPAIN

Because I am a filmaker myself and know how terrible is to experience this.
sean nam CARLISLE, PA

If it’s yours, then it’s yours.

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Maren Hobein LONDON, UNITED KINGDOM

As an exhibitor I think film should be widely available and shared, but most of all I thnk that a filmmaker has the rights to his films.

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Werner Schweizer ZüRICH, SWITZERLAND

Independent filmmaking needs solidarity!

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Jean-Michel FRODON FRANCE

Even if Rappaport was not the great filmmaker he is, he would deserve to get back his own work. In his case, this situation is specially shocking.

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Dennis Grunes PORTLAND, OR

I am a poet, and creative property rights are part of one’s lifeblood.

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Cerise Howard PRESTON, AUSTRALIA

Saddened to see a distinguished member of academia so abusing the trust, and hampering the public exposure and right to a livelihood, of a distinguished filmmaker. Mark Rappaport’s wishes are wholly reasonable and should surely be respected in this matter.

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Daniel Eisenberg CHICAGO, IL

Because it’s the right thing to do.

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Rahee Punyashloka INDIA

Because Rappaport as well as other filmmakers deserve their basic rights; their right to screen, and possess the films they have made as their life’s sole entity.

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Matthew Ludvino LOWELL, MA

I’m hoping this turns out to be an Andy Kauffman style prank aiming to generate more interest in Mark’s work as opposed to a talented art critic completely losing his mind. Time to let go, Ray.

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Arden Castillo HOUSTON, TX

To have property be taken away from an important filmmaker (or anybody for that matter), let alone be backstabbed by someone whom you entrusted those belongings to, is just not right.

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Yves Sauriol VAUDREUIL-DORIO, CANADA

Return that film Ray!!!

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Zachary Padovani POUGHKEEPSIE, NY

Too often in our world is art stripped from the artist for the benefit of others.

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Heiner Ludwig Ross D 20253 HAMBURG, GERMANY

I do show films since 1957 and helped to build world famous ARSENAL cinema in Berlin and METROPOLIS cinema Hamburg. The fame of these institutions comes from the work of filmmakers who created the films. Without these tremendous work film history and film as art would not exist. Who shows films is and has to be the servant of the filmmakers. Otherwise he or she will be a thief. Prof. Carney’s fame is based on the work of Mark Rappaport and other artists. He should show his respect for film art and film history by returning the films to Mark Rappaport without any demands from his side.

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Rea Tajiri PHILADELPHIA, PA

Seizing an artist’s lifes work in this manner is theft and is appalling. Mark is an important filmmaker and his work needs to be seen in this current cultural climate.

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Martin Loiperdinger TRIER, GERMANY

public access to the work of a renowned artist

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Manuel DeLanda MANHATTAN, NY

I am a filmmaker and can only imagine what Mark is going through.

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Laurent Jullier FRANCE

A reliable friend told me this was unfair. Occasions to be a friend are shortening these days.

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Graham Lockey OXFORD, UNITED KINGDOM

The inconsistency of Carney’s accounts of which of Rappaport’s video materials he was still in possession of and his ongoing silence in the face of the ever surmounting legal and professional consequences of his actions sadly appear to indicate a man who is no longer operating in accordance with the moral and ethical imperatives which ought to govern the actions of any person into whose custody a body of work is entrusted for archival purposes.

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Wilfried Reichart D 51065 KöLN, GERMANY

the material belongs to the author. Carneys behavior is unbelievable.

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Kelsey Brain NORTHRIDGE, CA

We need to protect the work of Mark Rappaport.

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Christine Lucy Latimer TORONTO, CANADA

It is nothing short of baffling that a trusted educator would store a filmmaker’s work and then later ask for thousands of dollars for its safe return. I’m unable to conceive of Prof. Carney’s ultimate goal here. I wonder how he would feel if his artwork was being held hostage in this manner?

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Werner Dütsch COLOGNE, GERMANY

In the words of Carney: a genuine national treasure,” “the greatest living American filmmaker,” and “one of the world’s great artists.”

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Jack Hirschfeld HAVRE DE GRACE, MD

Art is not peripheral.

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lynn phillips NEW YORK, NY

I’ve known Mark since 1980 and he has never been anything but scrupulously honest. If he says it was a loan, not a gift, I believe him.

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Tim HalloranLOS ANGELES, CA

It is the right thing to do.

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Edward Dimendberg IRVINE, CA

Carney’s behavior is shameful. Rappaport is a filmmaker of singular talent. Anyone who cares about film should support him.

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Mitchell Wu BROOKLYN, NY

Those materials rightfully belong to Rappaport, and Carney’s actions against Rappaport is a complete betrayal of his ideals as a film scholar.

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Walter UngererCAMDEN

I believe any harmful action and injustice to anyone, when exposed, requires a public reaction in order to expose its destructiveness and hopefully rectify the offense.

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Silvianna Goldsmith NEW YORK, NY

All artists must support that their work will not be stolen from them!

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Bobby Abate BROOKLYN, NY

I have faith and confidence Mr. Carney will return these works to their rightful owner: Mr. Rappaport.

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Peter Rose PHILADELPHIA, PA

It’s a simple question of artist rights, control of materials, and ethics.

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Emily Breer GARRISON, NY

Because I love Mark Rappaport! and it’s obviously odious to keep his films from him

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Jack Walsh SAN FRANCISCO, CA

Artists should control their work, period!

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Gertjan Zuilhof AMSTERDAM, NETHERLANDS

I have no insight in the juridical details of this dispute. I also do not feel like studying the case. There are lawyers for that. I suggest give the films to the filmmaker and then call a lawyer. Not the other way around.

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Phil Solomon BOULDER, CO

Obvious reason – I’m a filmmaker.

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Michael Pigott LEAMINGTON SPA, UNITED KINGDOM

It is saddening and disillusioning to see someone in a position to champion the work of an important artist actually get in the way of it. How much time and money has Rappaport lost to this mess?

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Rob Levi NEW YORK, NY

Do the right thing. You’ve built a life through other filmmaker’s work. Give something back to the community – especially since it’s not yours to keep

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Christoph Hochhusler BERLIN, GERMANY

Whatever the (mis-) understanding was in the first place, you can’t seperate an artist from his work.

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B Ruby Rich SAN FRANCISCO, CA

This is a crazy situation: of course M.R. should have his work back. What’s happened to Ray? The situation should be resolved immediately.

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Kian Bergstrom CHICAGO, IL

Carney’s actions violate any sense of decency and, more importantly, are an affront to the continuing work of a major contemporary artist. Rappaport has an overwhelming moral right to his own work, and the interests of all who claim to be invested in cinema as an art form are hindered by Carney’s mercenary and mean-spirited behavior, for they deprive a working filmmaker of a significant portion of his own medium. Give him back his work!

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miguel angel martinez SPAIN

Well, I don´t want that something like this would arrive to me.

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Jonathan Walley COLUMBUS, OH

This is an embarrassment to cinema scholarship, and threatens the special artist-scholar relationship that is unique to experimental film, and which benefits us all. Carney should return the work, and in doing so perhaps undo some of the damage he has done.

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Bernd Luetzeler BERLIN, GERMANY

it’s just obviously very important
Alain LeTourneau PORTLAND, OR

Mark’s work represents some of the best of American independent cinema and should not be held captive by an individual who clearly has no right to these materials.

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Salah Hassanpour TORONTO, CANADA

And end to all sociopathic self-promoters in academia.

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Pip Chodorov PARIS, FRANCE

Helping filmmakers is my business

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Elsie Walker SALISBURY, MD

For the protection of the individual artist’s rights.

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Sarah Bunting BROOKLYN, NY

It’s difficult enough to make one’s way as an independent artist without having to worry about losing your work entirely.
Michael Higgins DUBLIN, IRELAND

I’m a filmmaker and feel his pain.

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John Keefer PHOENIXVILLE, PA

Film does not belong to one man, it belongs to all of us, it’s life lead by the filmmakers.

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Francesca Dal Lago FRANCE

It is simply absurd and unacceptable that several years works of such an important director could be outright stolen and , effectively, become unaccessable to the whole film community. RETURN MARK RAPPAPORT’S FILMS!!!!

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Clark Foldberg RICHMOND, VA

Ray Carney is a published and publishing writer/theorist whose public actions are followed by so many students and scholars of film. First it’s absurd that this man should act so cowardly when taken to court. Second, if what’s being said is true (if Carney hasn’t denied that it was an offer), it’s terrible to take part with ‘the greatest artmaker ever’ in an interaction that has clear terms – one man is given a place to put his art, the other gains the honorific of protector, with the benefits of respect and access – and fully screw the guy over. Carney’s reputation will forever bear his sneering attitude towards artists with dreams, and towards the potential film community that shares motion pictures as primitive 19th century man shared words. More importantly though, the situation is incredibly simple, and the lack of resolution is just sad. Rappaport has lost the fruits of his lifetime of filmmaking, and Carney (has lost his marbles) is with every passing moment turning himself further and further from reconciliation with the main forum for ideas and progress he dealt in. I almost feel bad for being the next, 564th cog compelled to say something, because for Carney it shouldn’t have to go like this. Just give him back the movies, dude. PS Jon Jost is my savior I will sign anything he writes for me to sign. Anything.

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Michael Witt UNIVERSITY OF ROEHAMPTON, LONDON, UNITED KINGDOM

All the material should be returned immediately to Mark Rappaport.

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Joshua Ostrander GREENLAWN, NY

What Ray Carney did just seems wrong no matter who he did it too.

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Erwin Houtenbrink ROTTERDAM, NETHERLANDS

Because I like justice served

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will rutledge TORONTO, CANADA

give him his fucking films back.

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Marc Weiss NEW YORK, NY

Mark’s materials belong to him, not to anyone else. If he wants them back, he should get them. End of story.

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Angelo Simeone AUSTIN, TX

It’s unclear to me why someone who claims to publicly support an artist would give away or destroy material given to him by that artist for safekeeping. It’s also unclear to me why that person entrusted to the care of that material would hold it hostage for a fee. It’s obvious that the person entrusted to the care of the material hopes the gain something financially for it. In this day and age, an artist should always maintain control of his own work, and those who use that work for their own personal interests are clearly in it for something other than love of art.

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Heinz Emigholz BERLIN, GERMANY

I do not like academic vampires.

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Tom Kalin NEW YORK, NY

Mark is the filmmaker and ultimate owner of the work. All the materials held by Carney should be returned to him. I have to say I’m shocked by Carney’s behavior in the matter.

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Javier Quintero BOGOTA, COLOMBIA

1. An artist has the legitimate and final right to keep the work s/he created. 2. Mr. Rappaport has the right to receive an answer from Mr. Carney. 3. Mr. Carney should show up and offer an explanation on what is exactly going on.

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Adam Soule CHICAGO, IL

I am in the industry.

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James Fazzaro SOMERVILLE, NJ

That’s a raw deal there, I’d never want to see a filmmaker lose their materials over a bogus “agreement” such as this.

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Julie Rigg AUSTRALIA

It’s an absolute question of ethics and moral rights

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Farshid Mofidi COLOGNE, GERMANY

I have yet seen only one of Mr. Rappaport’s films and found it wonderful. I am no filmmaker or critic, just a student with a great interest in cinema and a distaste for self-righteous academics in general. I am also desperate to use the internet for the benefit of mankind. So I’ll sign this petition and wish for the best outcome for Mr. Rappaport.

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Brandon Colvin MADISON, WI

These films obviously must be returned to Rappaport, not only for digital distribution, but for proper archival storage; this is a crime against culture.

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Bruce McPherson KINGSTON, NY

Professor Carney seems to have forgotten about karmic boomerang.

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Giles Sherwood NEW YORK, NY

Common sense. Simple decency. Please do the right thing.

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CHRISTINE REYNOLDS LA, CA

.INTELLECTUAL PROPERTY

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David Bratton LOS ANGELES, CA

A filmmaker’s works belong to the filmmaker, not an academic

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barry gerson PRESTON HOLLOW, NY

This appears to be a case of unethical and unlawful behavior on the part of Mr. Carney.

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Derek Long MADISON, WI

This is an affront to artists’ rights and the scholarly community.

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Keith Phipps CHICAGO, IL

A no-brainer. Seriously.

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Jesse Perry NASHVILLE, TN

Ray Carney needs to do the right thing.

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harles Blakemore AMSTERDAM, NETHERLANDS

Artists own their work unless they explicitly sell their rights. This is a criminal theft on the part of Carney

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Zachary Williams BURNABY, CANADA

For too long Ray Carney has been exploiting individuals such as Mark Rappaport based on his alleged ‘status’ within American academia. Actions such as these are seriously detrimental to not only Rappaport but to the entire cinephilic community. Rappaport’s livelihood is at stake here, as is the public’s access to important cultural and artistic documents.

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Daniel McKleinfeld BROOKLYN, NY

Mark Rappaport is one of the great independent filmmakers, and this is a terrible crime against film preservation.

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Christina Lewis HONOLULU, HI

Art, man.

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Adam Zanzie WILDWOOD, MO

I immensely disapprove of Ray Carney’s interference in the personal affairs of filmmmaking artists, and it is time he answered for them.

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Matthew Seitz BROOKLYN, NY

The films belong to Mark.

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Michael Hannigan CORK, IRELAND

The clear injustice. involved.

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Rosanne Walsh FRANKLIN, MA

An artist’s work is his own.

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Matthew Pinkerton LITTLETON, CO

I am a filmmaker and find this situation completely unacceptable.

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Karel Doing ROTTERDAM, NETHERLANDS

I am an artist/filmmaker and regularly have to defend my copyright.

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Jean-Jacques Birgé FRANCE

Authors have so often difficulties to get their work shown…

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Geoffrey O’Brien BROOKLYN, NY

To defend the rights of artists.

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greg anthon ENGLEWOOD, NJ

Carney- return the films!

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Jennifer Kotter NEW YORK, NY

This extreme misunderstanding will be remedied only when all materials in question are returned to the artist in good condition. A treasure and unique artist, Mark Rappaport must have his life’s work returned to him immediately. Withholding these archives from their author is criminal.

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Nick Wrigley HORWICH, BOLTON, UNITED KINGDOM

So sad and unnecessary. A disgusting story.

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Stephen Kutos PASS CHRISTIAN, MS

As a film maker, I cannot imagine the horror of someone stealing my archives and depriving me of my ability to distribute my work.

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will aitken MONTREAL, CANADA

Carney clearly got Proudhon wrong : theft is not property

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Montse Pellicer SPAIN

Some people think they can do whatever they want, with no respect for others

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Adam Barth NORTH KINGSTOWN, RI

That Mark Rappaport deserves the immediate return of his materials remains one of the few clear and discernible facts surrounding this debacle.

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Louis Salvas WARWICK, RI

Perhaps his claim of unfair treatment regarding the Cassavetes films which he found is warranted on a certain level.

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Donald Liebenson HIGHLAND PARK, IL

the salvation of an artist’s life’s work

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Dane Benko AL AIN, ABU DHABI, UNITED ARAB EMIRATES

Art before ego.

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Randall Danson BROOKLYN, NY

I value Mark Rappaport as an artist but more importantly for being an inspiring example to all artists who struggle and do without in order to dedicate themselves to creating work that is outside the norm and true to their own hearts and souls. We are lost culturally without such people. And theft is theft.

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Luke Holmaas FARGO, ND

Because I believe in the freedom of information, and in providing access to works of art (especially films), and I am appalled by the dictatorial behavior of this academic as he violates every principle he supposedly stands for (or should)

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Mark Longden CHESTERFIELD, UNITED KINGDOM

Mark deserves his stuff back, plain and simple.

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Al Nigrin NEW BRUNSWICK, NJ

Hey Carney! Give Mark Rappaport his masters and materials back!

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Sandy Flitterman-Lewis HOBOKEN, NJ

Mark Rappaport is one of our most significant contemporary filmmakers and his work should be available to all. First step: Liberate the materials. Second step: a Traveling Retrospective. Third step: Establish worldwide acknowledgement of MR’s art and importance to film.

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Logan ArneyI NDIANAPOLIS, IN

Because Rappaport’s film’s are important to my work.

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Jason Mittell E MIDDLEBURY, VT

Ray Carney is clearly an egomaniac (see his site at http://people.bu.edu/rcarney/aboutrc/letters.shtml ) and needs public shaming over his actions.

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Erik Hammen SEATTLE, WA

Render unto artists what is artists’

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Sara Driver NEW YORK, NY

I have always admired the work of Mark Rapport and hope the rest of the world gets to see it. His work should be returned to his hands. Why Ray Carney has any right to hold onto this great filmmaker’s life work is not understandable at all and is a terrible injustice.

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Susan White TUCSON, AZ

This theft of Mark Rappaport’s films and other artistic work must be punished!

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Thomas Elrod CARY, NC

Mark Rappaport deserves control and ownership over his own films. Carney, apart from acting ridiculous, is also acting unethically and immorally.

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james medeiros LINCOLN, AR

if believe in free library for all not few and jesus, it his personal shit innit.

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Tom Scarlett ROCKVILLE, MD

Justice for an innovative artist.

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Stuart Liebman NEW YORK, NY

Withholding an artist’s materials for ransom? C’mon, what is Carney thinking?

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Ivo Tomas PHILADELPHIA, PA

It’s theft, as far as I am concerned

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Laura HerrmannASHEVILLE, NC

These films are a national treasure and everyone should be able to continue enjoying them. I believe in preserving films and Rappaport deserves to have them back.

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Girish Shambu BUFFALO, NY

Mr. Carney: Your reputation as a ‘friend’ is nearly destroyed. Save your reputation as a scholar and critic by awakening to your crime and returning Mark’s films immediately.

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Paul Wagner CHARLOTTESVILLE, VA

I question why Boston University has not spoken out on this matter. Surely they don’t support Prof. Carney’s unethical and illegal action.

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Dominic Leppla MONTREAL, CANADA

scholar and cinephile

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Shane Ford HOUSTON, TX

We, as viewers and participants, are already faced with plenty of obstacles from the mainstream to make or view real art in film. This is most disturbing because this essential theft comes not from a studio or a “usual suspect” but from someone who was a champion of these works, someone from the inside. It’s time to give the work back to the artist.

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Caldecot Chubb LOS ANGELES, CA

Integrity and justice.

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Leonardo Paulillo ROMA, ITALY

It should be not considered a gift something that could have a value of 27.000$! Everybody knows that real “gift” has no value!

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Graham Swindoll BROOKLYN, NY

Rappaport deserves his work back, and what is being done to him is a horrifying violation.

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Scott Smith MALIBU, CA

huge supporter of independent and experimental film

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Toni D’Angela MILANO, ITALY

That creation belongs to the his creator: Mark Rappaport. And he needs his stuff. He has the right to ask and to get his work. No way.

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Eduardo Martinez PHARR, TX

I became an admirer of Mark’s when I first saw “Rock Hudson’s Home Movies”. Hearing about this situation has saddened me. This great artist should get his work back.

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John Pastuch NONE OF YOUR BUSINESS, NJ

Mark Rappaport is an independent artist. Those works are his entire life. Furthermore, Carney is directly preventing those works from reaching a wider audience.

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John Finlay FRANCE

The artist’s work belongs to the artist. Period.

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Jim Beaver STUDIO CITY, CA

Without documentation of a transfer of ownership, no one should be able to outrank the creator of a work of art in the matter of ownership. Let Professor Carney prove his own ownership or revert all of the items to the creator.

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Chris Fujiwara EDINBURGH, UNITED KINGDOM

Artists’ moral right to their works must be protected against the greed and vanity of the powerful.

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Nicholas Middleton HAMAMATSU, JAPAN

If he wants them back, there shouldn’t be any obstacles put in place. That said, I think those close to him should stage a reverse-heist. Let it be known that I endorse this stunt should it be pulled off.

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Thomas Groh BERLIN, GERMANY

As a film critic, I think it’s scandalous to cut off an artist from his work

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Catherine Grant BATTLE, UNITED KINGDOM

Because I’m a film studies academic and I don’t think film studies academics, or anyone else working with artists, should behave like this.

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VIGO luce Vigo PARIS, FRANCE

It belongs to M. Rappaport and represents the work of all a life.

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Alix de Montaigu75002, FRANCE

An artist owns what he creates

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Nicole Brenez PARIS, FRANCE

And as a bonus, please give back also the first version of “Shadows” to Gena Rowlands.

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Stacia Kissick Jones MANHATTAN, KS

It is clear this material was not given as a gift to Mr. Carney. In light of this, Mr. Carney should return these items to Mr. Rappaport as soon as possible.
Michael McWay LEMOORE, CA I love Carney, but I don’t understand his behavior here at all. Please return Mark’s films.

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Sean Healy MAITLAND, FL

I believe that artist has the right to possess his work and share it with everyone. Carney by hoarding Rappaport’s material (and thus preventing the ownership/restoration/distribution of Rappaport’s life work) is infringing on this basic right of one of the great film artists, and must be stopped from continuing to do so.

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Juhani Klemi TURKU, FINLAND

No need to explain. He is a thief.

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Christopher Sieving ATHENS, GA

Humanity

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herb shellenberger PHILADELPHIA, PA

Please return Mr. Rappaport’s work.

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Godfrey Cheshire NEW YORK, NC

principle

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Greg Giles OAKLAND, CA

Something similar to this happened to me once with a former colleague. Even if Carney has a remote chance in court, human decency and the urging of more compassionate friends, film lovers, artists, and intellectuals should move the man to return Rappaport’s work without the sad recourse of legal action.

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Tom GunningCHICAGO I, IL

this is both an ethical and aesthetic issue: return of property and support of major artist having access to his work

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Liam Williams VICTORIA, CANADA

There is no justification for Ray to not return the works of Mark!

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Sherman Ong SINGAPORE, SINGAPORE

“What the teacher is, is more important than what he teaches.”― Karl A. Menninger

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Matt Langdon LOS ANGELES, CA

It’s time for Ray Carney to do the right thing. If you respect the films you need to also respect the filmmaker.

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Thomas Hutson WILDWOOD, MO

Prof. Carney should be held accountable for his bad behavior and prosecuted for his crimes.

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Jesse Richards GRANBY, MA

This kind of leeching off of a filmmaker cannot go ignored. Return the films.

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Eli Elliott ST. PETERSBURG, FL

Absurdist Video Art supports this action and denounces artistic inside job egotistical behaviors such as displayed by Ray Carney

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Jonathan Shapiro LOS ANGELES, CA

Carney’s behavior is inexcusable, and he’s proof that the tenure system in American post-secondary institutions is a pox on learning.

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Dale Wittig SAN FRANCISCO, CA

As a visual artist, writer, and sometime film maker, I don’t wish to see another marginalized artist deceived by yet another cultural gate keeper.
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Tony Pipolo MASPETH, NY

Carney’s behavior is inexcusable; films should be returned immediately.

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Tobe Carey GLENFORD, NY

As a graduate of Boston University and an independent filmmaker, I deplore any one improperly keeping the work of a filmmaker from the artist. Hand them over, Professor.

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Toshi Fujiwara SHINJUKU-KU, TOKYO, JAPAN

i would hate to have my films stolen for “academic reasons.”

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Aaron Novick NASHVILLE, TN

I care about film. I think that sums it up.

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Matthew Smith COLUMBIA, SC

Carney’s behavior in this situation is unbecoming of an academic, a critic, and cineaste. To deny access to the films of Mark Rappaport not only to the filmmaker himself but also an audience is simply unconscionable. The materials should be returned to Rappaport and this nonsense should be put to rest.

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Caveh Zahedi BROOKLYN, NY

I love Ray Carney. He’s my favorite film critic of all time. Obviously, something inexplicable is going on. I just hope Ray is okay and that Mark gets his films back.

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Vicki Whitworth OCHELATA, OK

I believe these items should be returned to the rightful owner, mark Rappaport. I would want mine returned. It’s the right thing to do and should be done.

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Peter Nellhaus LITTLETON, CO

An artist should not be deprived of rightful ownership of his art.

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Edward Smith MINNEOLA, FL

Ray Carney should exercise the necessary humility and moral courage to do what is unquestionably right. It’s never too late to begin repairing the damage caused by past misjudgments. I’m sure the recognition isn’t lacking. Now all that’s required is to act.

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nehdi mohamed TRYON, NC

Give to Caesar what belongs to Caesar. It’s very important. period

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Tobe Carey GLENFORD, NY

As a graduate of Boston University and an independent filmmaker, I deplore any one improperly keeping the work of a filmmaker from the artist. Hand them over, Professor.

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Toshi Fujiwara SHINJUKU-KU, TOKYO, JAPAN

i would hate to have my films stolen for “academic reasons.”

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tom chamberlin PORTLAND, OR

I am a film/video maker and out raged that a university professor could get away with stealing Mark’s film materials.

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Jud Yalkut WAYNESVILLE, OH

The creation belongs to the creator.

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Charles Tyle rWESTMINSTER, MD

I admire and enjoy Rappaport’s work as a filmmaker, and it’s my belief that all artists should have access to their own work, as well as ownership rights in regards to it. On top of that, this is theft, which I do not abide or support when perpetrated against individuals.

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Jason Costanzo AUSTIN, TX

Have admired both parties for many years. Carney’s confounding hypocrisy is disheartening, and I support Mark Rappaport’s efforts to reclaim his work.

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Jean Poulot SEOUL, KOREA, REPUBLIC OF

Fairness, ownership

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Joshua Thorson TROY, NY

Boo…

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Ruby Carat LOS ANGELES, CA

Artists don’t need any more hardship than they already have. Shame on you Ray Carney.

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Jason Bernagozzi ROCHESTER, NY

As an artist I find these actions reprehensible.

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Jeff Davis BROOKLYN, NY

Because I’ve had work stolen from me and been refuse payment for my work. But nothing so egregious as this outright theft. Ray Carney should be jailed and Boston University should seriously consider whether such a person is a desirable employee.

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Dan Madigan NEWBURY, MA

Simply, it’s the right thing to do. A thief with a college degree, doctorate or tenure….is still a thief..

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Nancy Cain DESERT HOT SPRINGS, CA

Robbery is wrong

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Jaime Christley JACKSON HEIGHTS, NY

Much as I’m tempted – as many of us are – to make this about some of the ill will that Mr. Carney has … inspired in some of us, from time to time, the issue seems pretty clear-cut to me: he has things belonging to Mr. Jost, he’s being asked to return them. Period. No delays and no ransom.

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david linton NY, NY

an artist’s work is like his flesh… so separation is tantamount to murder… etc

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Kent Jones NEW YORK, NY

Mark is the filmmaker and he deserves to get his masters back – pure and simple.

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Wendy Keys NEW YORK, NY

Ray Carney has severely violated his pact with Mark Rappaport and must return his materials immediately.

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Marianne Dissard PARIS, FRANCE

Justice, respect, compassion and art.

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Jacob Cole AUBURN, AL

Non-mainstream filmmakers face enough hardships without their supposed admirers trying to extort them.

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Kristin Thompson MADISON, WI

Obviously all this material should immediately be turned over to Rappaport. If Carney has no sense of decency, he might at least consider the damage his actions have and will cause to his standing in the academic community.

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Bruce M. Foster NEW YORK, NY

I worked for Collective For Living Cinema back in the day. We had the pleasure of screening some of Mr. Rappaport’s films. What Mr. Carney is doing is extortion, plain and simple. He’s hoping for a pay day. He should be running in fear instead.

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Michael Goodman CAMBRIDGE, MA

Mark Rappaport is a unique and interesting filmmaker who deserves to be seen. Carney’s possession of the work does not seem conducive to this. Plus, the artist is the creator of these films, he should be allowed to use them to gain income, or at least try and get the work and thus his efforts appreciated.

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John Kent Long SAN FRANCISCO, CA

If there is no contract present, then NTM, Carney. We call backsies.

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monika treut HAMBURG, GERMANY

it’s a crime to strip film auteurs from their right to use their creative properties

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Adam Baran BROOKLYN, NY

Mark Rappaport’s films are criminally undervalued, fascinating pieces of work and the work of a true artist. The world needs access to these films, archivists need to be able to properly preserve and restore them and DVD’s need to be made. That they are being held this way breaks my heart.

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Jim McMahon NEW YORK, NY

Please return the films!

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Caroline Koebel AUSTIN, TX

I was just reading about Mark Rappaport’s film From the Journals of Jean Seberg (in Jonathan Rosenbaum’s Essential Cinema) and thinking that I wanted to see it the first chance I got. Let the filmmaker control this vital matter of access; return to Rappaport his rightful authority!

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Aaron Hillis BROOKLYN, NY

Professor Carney knows better than this, and this is hardly the first time he’s acted out with less than professionalism or dignity. Come on, Ray, do the right thing.
GAUTHIER Jean-François ROSNY SOUS BOIS, FRANCE

La Création de chacun est inaliénable !!!!

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Ken Jacobs NYC, NY

To help protect the work of one of our best film-artists, and to see that it’s properly returned to him.

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Katherine Dieckmann NEW YORK, NY

Mark is such an important filmmaker, and was a friend back when he lived in NYC. This is a sickening situation. I hope Ray Carney, whose work on Cassavetes I have enjoyed, will do the right thing.

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Howard Rodman LOS ANGELES, CA

Mark Rappaport has created an extraordinary body of work. The person who controls that body of work should be Mark Rappaport. It’s as simple as that.

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roger dean FT LAUDERDALE, FL

art belongs to the creator

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coleen fitzgibbon NEW YORK, NY

Mark Rappaport is a fellow filmmaker

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Nathan Marone ASHEVILLE, NC

Haven’t seen a single Rappaport film. Maybe if Carney gives them back, I’ll have a better chance of seeing as many as possible.

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Frank Mosley ARLINGTON, TX

it’s just not right what’s happening to any artist.

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Lawrence Helman SAN FRANCISCO, CA

Thievery and dishonesty is a crime.

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Rich Vaughan AUSTIN, TX

I have always admired Carney’s support for the arts, so it was shocking to hear of his shabby treatment of one of America’s great artists.

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David Jeter WAXAHACHIE, TX

These materials are of historical significance in the entertainment industry and the circumstances under which these items have been denied access cannot go unnoticed by the film community!

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Melanie Arwin NEW YORK, NY

Artists should own their art

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Sherry Hocking NEWARK VALLEY, NY

I have been a part of the independent media arts community for 40 years. Preservation of work in a responsible manner is the only way future generations will understand their moving-image heritage.

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Martine Habib WOODSIDE, CA

This situation seems very close to theft. The author’s rights should be protected.

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Lorenzo Taiuti ROMA, ITALY

because it seems a right cause

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Dylan Pasture LYNDHURST, NJ

Our artists are important, and the critical community should be working in collaboration with them, not feeding off of them for their own selfish gain. Mr. Rappaport’s work should be treated with the safety and integrity it deserves.

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Martin Koerber BERLIN, GERMANY

Assuming Ray Carney was acting as an archivist who wanted to help Mark Rappaport when he moved out of the country, let me say as a fellow archivist that the right of the artist to withdraw, for whatever reason, and certainly for the reason of making the works more available, should be stronger than other considerations.

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Nathan Marone ASHEVILLE, NC

I have never seen a Mark Rappaport film. How will Carney help me amend this situation? Not by holding the films hostage.

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Roxanne Rogers TESVIKIYA, TURKEY

Artist own their own work. Return these films to Mark now!

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susan seidelman NEW YORK, NY

As an independent filmmaker myself, I understand the importance of having control of your own work. This is Mark Rappaport’s legacy and a source of income for him.

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Bob Stutsman VANCOUVER, CANADA

Clearly, these films are the intellectual property of the creator, Mark Rappaport. So that these films can reach a wider audience, they must be returned to the person who created them asap.

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Susan Gerhard SF, CA

Mark Rappaport needs his films back!

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Gregory WENDT BELLINGHAM, WA

Mr.Carney should return Mr. Rappaport’s material’s or provide a clear and substantive reason for why this is not possible. Absent either of those two events, it seems clear to me that his attitude here contradicts his stated opinions on similar matters regarding the importance not only of Mr. Rappaport’s work, but Mr. Carney’s own view of the significance and even necessity for such works to be available to be seen as witnessed by his arguments surrounding the alleged earlier versions of Shadows and his fight with the Cassavetes estate. Mr.Carney’s failure to act in this instance casts considerable doubt over a great deal of his previous statements and work.

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David Raphael Israel LOS ANGELES, CA

Assuming Jon Jost’s description of the situation vis-a-vis Mark Rappaport’s work to be a substantially accurate summary, I should like to voice support for a just and proper resolution, as proposed.

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Carolyn McCaffrey CHARLOTTE, NC

protecting artists and their works

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ANDREA SIMON NEW YORK, NY

hmm, how about “THOU SHALT NOT STEAL” …?? These are very valuable and beautiful films, key documents of American independent cinema and it’s important to make sure they survive!

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Richard Herskowitz EUGENE, OR

Ray: apologize, return the materials, and start rebuilding your former reputation as a champion of truly independent filmmakers.

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CJ Roy VANCOUVER, CANADA

Because Ray Carney is a hack critic and a thief and while one of those may be opinion, the other is true.

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Patricia Herrmann TRYON, NC

I believe that an artist’s work belongs to the artist unless he has sold it. Mark is. in the truest sense of the word, an artist who has created important work with very little financial return. There is an opportunity for his work to be appreciated by more film lovers, he deserves that, THEY deserve that.

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Fabiano Canosa NYC, UNITED STATES

The ownership of Mark Rappaport’s films is Mark Rappaport. In the course of my long activity as film programmer for various institutions, I always dealt with Mark Rappaport- one of the leading American film-makers- in all the varied spectrum of publicity, distribution and rights. It’s a shame that a scholar can deplete Mr. Rappaport of his work by claiming ownership of materials that belong solely to its author.
Bill Curran BROOKLYN, NY

Protecting the rights of the artists.

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Jeffrey Skoller BERKELEY, CA

This horrifying story of betrayal further erodes the relationships of trust and mutual enrichment between academic scholars/critics and the creative artists on whom scholars depend.

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Joshua Ralske NEW YORK, NY

It’s only fair that Rappaport should have his work returned to him.

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John Shumate ARLINGTON, TX

I learned about Mark through Ray. Mark’s work deserves as audience. Ray’s strange tyranny must end.

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Álvaro Bretal ENSENADA, ARGENTINA

I’m a Rappaport fan. Followed the affair since day one. It’s fair that Rappaport gets his films back.

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Lina Todd BROOKLYN, NY

Mark Rappaport is a brillant, innovative & avant garde artist. His work is vital to film’s cultural history.
Harvey Waldman NEW YORK, NY

Just making and getting any kind of distribution for Independent Cinema is hard enough. Even the very possibility that the important films of Rappaport or Cassavettes might become inaccessible to the viewing public is tragic and unacceptable. A film scholar as knowledgeable as Carney should know better and should be ashamed to be any part of making these films difficult to see.

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Allison McCulloch LOS ANGELES, CA

Mark Rappaport is an amazing filmmaker that needs to have access to his works that he owns. The theft by Ray Carney is deplorable. The sooner his materials are returned, the better.

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Matthew Fisher DES MOINES, IA

These great films must be returned to the great filmmaker who made them.

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Elric Kane SHERMAN OAKS, CA

As a filmmaker we trust people who claim to help us get our films seen. I had always

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Tom Charity VANCOUVER, CANADA

Imagine Ray’s storage lockers, a Xanadu of independent treasures, hoarded and boarded up from sight, but to what end, and for whose benefit?

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Charles Taylor JERSEY CITY, NJ

I’m a film writer and a teacher. This is unpardonable, larcenous behavior and both communities are discredited to have Carney among them.

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RAYMOND BELLOUR PARIS, FRANCE

For the freedom of creation

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David Davidson TORONTO, CANADA

It’s theft. Is peoples property no longer sacred?

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Genevieve Yue MINNEAPOLIS, MN

Ray Carney’s actions are exploitative and criminal and severely undermine the trust between filmmakers, scholars, and academic institutions.

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Jim Gabriel NORTH VANCOUVER, CANADA

Do the right thing, Ray Carney…

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Adam Cook VANCOUVER, CANADA

It should be rather obvious.

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Keith Uhlich NEW YORK, NY

Mr. Rappaport’s films belong to Mr. Rappaport. And as things stand, he is being prevented from sharing his work with viewers. Please return the materials.

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Claire Aguilar OAKLAND, CA

I believe that Ray Carney should return Mark Rappaport’s films to him.

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Jamie O’Brien ABERYSTWYTH, UNITED KINGDOM

I have a lot of respect for Carney’s writing on film, and always will, but I can’t defend his behavior in this situation. He’s had enough time to provide reasons for his actions but as of yet has remained silent. If you care about your integrity or for Rappaport on any level, return the films. There’s no other moral option.

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Miquel Martí Freixas SPAIN

Mark Rappaport, a great cinema writer, a very original and unique creator of films, and a very nice and sincere person. We read about all this affair and we are very sad about that facts. We desire the best for him, all our support from Barcelona, Spain. http://www.blogsandocs

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Daryl Chin BROOKLYN, NY

An artist’s right to his/her own work is an important issue in terms of an artist’s freedom of expression; to be denied the right to that work is a denial of an artist’s expressivity. Though this is common practice in the commercial film industry, to encounter this situation in the context of independent film and academia is deplorable.

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Joseph Medina CORPUS CHRISTI, TX

Please, Mr. Carney, if you really want Rappaport’s films to receive wider recognition and appreciation, return them to him.

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Monte Hellman LOS ANGELES, CA

I’m a filmmaker, and can personalize empathize with this horror.

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Yusef Sayed LINCOLN, UNITED KINGDOM

It has been both saddening and disturbing to learn of this matter. I hope that no other living artist has to suffer through a similar situation with regards to access to their own work.

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Robert Tuscani WINTER PARK, FL

Because I am an independent filmmaker who has similarly been screwed. Return the film to the artist.

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Calum Marsh OTTAWA, CANADA

Mark Rappaport is one of the most important voices in American filmmaking, and his contributions to the art of the video essay, in particular, have had an indelible influence on the landscape of contemporary arthouse cinema. The loss of any art to the callous whims of an unscrupulous charlatan would be disagreeable; the loss of Rappaport’s would be a national tragedy.

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Thomas Prieto NEW YORK, NY

The cinema of Mark Rappaport needs to be returned to him and thus saved from Ray Carney.

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Philip Tatler KNOXVILLE, TN

Unless freely given, intellectual property belongs with the intellect that created it.

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David Ehrenstein LOS ANGELES, CA

A great artist’s work has been stolen.

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Ryan Sarnowski MILWAUKEE, WI

It’s hard enough making independent films. It’s even harder if the people you thought you could trust, those who have championed your films, hold your material hostage.

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Dean Treadway ATLANTA, GA

This is an outrageous travesty of trust, and the most ridiculous crime I’ve ever perpetrated on a great American filmmaker.

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Fco Javier Soto del Toro SEVILLA, SPAIN

Although Ray Carney must have been put his signature over “A film by Mark Rappaport” with a pen, these materials should get back immediately to his original creator.

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Martha Nochimson RIVERDALE, NY

Respect Mark’s work; respect your own place in the academic community. Have some dignity, be a man, and restore the films to their rightful owner.

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Adam Hughes CHARLOTTESVILLE, VA

Mark Rappaport is a nice guy, and doesn’t deserve to be treated badly.

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Paul Hiller BROOKLYN, NY

Keep drama in the art

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Yann Beauvais CARROLLTON, TX

Send back the work to Mark.

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Rich La Bonte BAY HEAD, NJ

Art theft is a serious crime. Artists must be protected from thieves and opportunists.

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Barry Norman HARPSWELL, ME

I know too well how Ray Carney operates.

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Paula Arantzazu Ruiz MADRID, SPAIN

Say no to ‘pillaje’. Please Ray, return to Mark his own cinema.

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Adrian Martin Professor MELBOURNE, AUSTRALIA

The great cinema of Mark Rappaport needs to be saved from the selfish, hoarding, unproductive hands of the clearly deranged and evil Ray Carney.

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Richard Robinson ORANGE, VA

Mark Rappaport should have his films returned immediately.

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su friedrich BROOKLYN, NY

No one but the filmmaker has the final right to their work, so there is no excuse for not returning work to the maker if they request it.

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Meredith Brody OAKLAND, CA

It’s unconscionable that a supposed “caretaker” is preventing an artist from accessing and profiting from his own work.
Angel Rueda SPAIN

We demand Ray Carney return Mark Rappaport´s Films immediately.

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Robert Peabody RICHMOND, VA

Carney is being unfair and unreasonable.

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tag gallagher CHESTNUT HILL, MA

MR has a right to his films!

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Kristin Alexander WOODS HOLE,,

MA Back to rightful owner please.

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jeff steiner MADISON, WI

because it’s HIS work.

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PJ Moir AUSTRALIA

Artists rights to their work need to be respected. This is the theft of Mark Rappaport’s life work which is an insupportable betrayal.

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Ahmed Khawaja ABU DHABI, UNITED ARAB EMIRATES

It’s important; it just is. Ray should return films that aren’t his, nor do they belong to him, regardless of how long he took care of them.

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goro toshima LA, CA

without a doubt, mark is the rightful owner of his own footage/material. and he deserves to get his work back.

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Fraser Orr TOONGABBIE, AUSTRALIA

Ray Carney is the greatest film critic I’ve ever read, and his books have had an incredible impact on my life. But his actions here are indefensible, and truly distressing. I hope he’s able to see the nature of what he’s doing and change his actions for the better.

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Casey Pegram ROSWELL, GA

This is an unfortunate and sad chapter in the life of an otherwise admirable critic, one which may tarnish his legacy and ostracize him from the filmmaking and critical community. He has only himself to blame, however, for this unacceptable behavior. Mark Rappaport’s films must be returned to Mr. Rappaport immediately without any further stalling and evasion from Mr. Carney.

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Kari Banta AUSTIN, TX

This behavior on the part of Carney is destructive to Mark Rappaport and his films. Holding Rappaport’s work for ransom like this is a criminal act.

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If in the coming weeks, Professor Carney does not respond to this public exposure and the expressed opinions of his peers, and return Mark Rappaport’s property to him, further steps will be taken to place pressure on him – including moving to find adequate grounds for Boston University to terminate his tenure.  I personally would prefer to see the matter end quickly with the return of Mark’s materials.  But if Professor Carney insists on remaining recalcitrant whatever further steps are required will be taken. 

A big thanks to Daniel for all his time and help in pursuing this.