By Ray Pride Pride@moviecitynews.com

Kim Voynar, Mark Rabinowitz Named Programmers Of Oxford Film Fest

The Oxford Film Festival today appointed long-time staff member Melanie Addington as its Executive Director and named its programming team for the 2016 edition, to be lead by veteran industry fixtures Mark Rabinowitz and Kim Voynar as documentary and narrative feature head programmers, respectively. The 13th edition of the festival is set to unspool February 18-21, 2016.

Addington has been with the festival in various positions since 2005, working her way up from volunteer to volunteer coordinator, to assistant director and subsequently serving as co-director since 2008 before becoming the well-regarded organization’s Executive Director for the 2016 edition. “I have always been passionate about independent film, storytelling and Mississippi,” said Addington, “and this gives me a chance to really showcase all three. I’m excited to take on this new leadership position as we focus on growing the festival both during the February event and in terms of year-round programming.” Addington also serves as the President of the Mississippi Film & Video Alliance.

Kim Voynar, Narrative Features Programmer

Kim Voynar, Narrative Features Programmer

The festival is a key date on the busy Oxford cultural calendar, having hosted such notables as James Franco, Morgan Freeman, Jason Ritter, Elvis Mitchell, Mary Elizabeth Ellis, Ray McKinnon and Tim Blake Nelson.

Voynar comes to the Oxford Festival with over a decade of experience as a critic and industry analyst for Movie City News, Cinematical, Indiewire.com, Variety and others, adding director/producer to her resume in 2010, with current activities including live-action and animated projects with avant-garde musical group The Residents and an episodic TV series with Will Calhoun of hard rockers Living Colour.

Mark Rabinowitz, Documentary Features Programmer

Mark Rabinowitz, Documentary Features Programmer

Rabinowitz is a co-founder of the seminal indie film news service Indiewire.com and has been a journalist for twenty years, including service as a critic for CNN.com, Screen Daily, Paste Magazine and Alternative Press. He has attended over 175 film festivals as a critic, producer and staff, including serving as a programmer and industry liaison at the Hamptons International Film Festival and has served on festival juries in Edinburgh, Montreal, Denver, Nashville and Oxford. As a producer, he has projects in development with producer Darren Dean (TangerineKinyarwanda) and writers/producers Jon Cryer & Richard Schenkman and heads the film department at LA-based publicity & marketing firm PMG.

Today, OFF announces its call for entries for next year’s Festival in all programming categories. Entries are accepted through November 15, 2015 at Film Freeway (https://filmfreeway.com/festival/OxfordFilmFestival). Due to its calendar position following Sundance, Oxford has had the benefit of hosting the regional premieres of many notable films, including James Franco’s two William Faulkner adaptations (The Sound and the Fury and As I Lay Dying), Chad Hartigan’s This Is Martin Bonner, and Paul Saltzman’s Prom Night in Mississippi.

Oxford’s full programming team includes: Mary Margaret Andrews and Courtney Hall on documentary shorts, Newt Rayburn on music videos, Deborah Barker on Mississippi narratives, Maggie Woodward on Mississippi documentaries, Michelle Emanuel on animation and Brooke White on experimental films.

The incoming OFF Board of Directors is comprised of long-time festival supporters, including the executive director of the Yoknapatawpha Arts Council Wayne Andrews (President), former SVP of Production for MGM Television Hudson Hickman, and writer/producer Chris Offutt (True Blood, Weeds, Treme).

About the Festival

The Oxford Film Festival was founded in 2003 to bring exciting, new and unusual films (and the people who create them) to North Mississippi. The annual four-day festival screens short and feature-length films in both showcase and competition settings, including narrative and documentary features and shorts; Mississippi narratives, documentaries and music videos, and narrative, documentary, animated and experimental shorts. The festival is a 501c3 not-for-profit organization. For more information, visit www.oxfordfilmfest.com

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“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch