For me, J4J was a way to put those theories into action in some meaningful way--the project seemed like a possible wedge into capitalism and patriarchy.
In my early writings about J4J, I discussed how we, as women, by virtue of being raised to be so self-conscious, are making movies all the time in our heads as we move through the world.
When I first met with curator Glenn Phillips, I went in with the feeling that I would have to use my name to get J4J into the institution.
The answer was J4J. These women filmmakers that I had surrounded myself with were my primary reality.
JBW: J4J did have an impact on many of the people who were involved in some way, such as Astria Suparak, K8 Hardy, and Sarah Gertrude Shapiro.
(7.) More accurately, despite rumors that the SEIU Vancouver office flirted briefly with
J4J in the early 1990s, my numerous attempts to discover this story led nowhere, with SEIU union representatives being particularly unhelpful.
