Print Generations
Tijana Petrović, Amy Reid, and TT Takemoto in person!
Co-presented by Canyon Cinema

This program highlights work from Canyon Cinema’s inaugural film commissioning project. Borrowing its title from J.J. Murphy’s astounding structural showpiece, Print Generation (1974), and inspired by the 16mm Centenary (1923-2023), Print Generations was conceived to support analog-based filmmaking in the Bay Area. For this first iteration, three filmmakers – Tijana Petrović, Amy Reid, and TT Takemoto – were selected through an open call to create new cinematic works. No restrictions were imposed on the proposed films’ subject matter, style, or length. A commitment to working with 16mm was the only requirement. The newly created films screen here, complemented by works from the Canyon Cinema collection selected by the Print Generations cohort.

Print Generations is supported by the Owsley Brown III Philanthropic Foundation, the National Endowment for the Arts, and the Phyllis C. Wattis Foundation. Technical support was provided by Oakland’s Black Hole Collective Film Lab, a DIY community resource center and art studio based in West Oakland. 

Copies of the accompanying publication, Canyon Cinemazine #10: Print Generations, co-edited by S Topiary Landberg and Brett Kashmere, will also be available at the screening. 

Night Swing (TT Takemoto, 2026, 2.5 minutes, silent, 16mm presented as digital file)
Swing Swish Sway (TT Takemoto, 2026, 7 minutes, sound design by Kadet Kuhne, digital file) 
Innesti Neri e Bianchi (Federica Foglia, 2022, 7 minutes, sound, digital file)
Blanket Statement #1: Home is Where the Heart Is (Jodie Mack, 2012, 3 minutes, sound, 16mm presented as digital file)
Bay Area Sampler Quilt (Amy Reid, 2026, 10 minutes, sound design by Tyler Bell, digital file)
Blanket Statement #2: All or Nothing (Jodie Mack, 2013, 3 minutes, sound, 16mm presented as digital file)
Flow Attachment (Tijana Petrović, 2026, 9 minutes, sound design by Chris Carlson, digital file)
In the Maritime Frequencies (Greta Snider, 2025, 16 minutes, sound, digital file) 

Approximate running time: 60 minutes, Q&A to follow

Federica Foglia is a transnational visual artist and writer. She holds a BA in Multimedia Languages and Digital Computing for Humanities: History of Art, Theatre, and Cinema from the University of Naples L'Orientale, an MFA in Film from York University, Toronto and is currently a Ph.D. candidate in Cinema and Media Arts at York University. Foglia is interested in issues of immigration, citizenship and identity, displacement, women of the diaspora, migrant temporalities, and finding a visual language to investigate these experiences. Her practice revolves around recycled cinema, amateur filmmaking, and imaginary archives. She works within the domestic space to remediate found-footage films.

Jodie Mack is an experimental animator. Her films unleash the kinetic energy of material remnants of domestic and institutional knowledge to illuminate the relationship between decoration and utility. Straddling the boundary between rigor and accessibility, her cinema questions how we ascribe value to things. Her work has been featured in publications including Artforum, Cinema Scope, The New York Times, and Senses of Cinema. She was a 2017/18 Radcliffe Fellow; a 2019 Artist in Residence at the Headlands Center for the Arts; a 2022 Visual Studies Center Fellow; and a MacDowell Fellow (2021, 2025). She is a Professor of Animation at Dartmouth College.

Tijana Petrović is a filmmaker, cinematographer, and educator born and raised in Belgrade, Yugoslavia (now Serbia). Her nonfiction films and moving image installations use landscape as a framework through which to observe and question our relationships to history, place, and the natural world. Her recent film A Field Guide to Coastal Fortifications had its World Premiere at the International Film Festival Rotterdam in 2023 and won the Best Film Award in the National Competition at the 16th Beldocs IDFF. Petrović is a graduate of the Documentary Film and Video MFA program at Stanford University. She is currently a lecturer in the Film and Media Department at UC Berkeley. 

Amy Reid is an artist and filmmaker whose work examines the intersections between gender, national identity, and labor. By exploring observational approaches and expanding upon formal cinematic notions of time, structure, and narrative, Reid’s work questions how labor is constructed in the filmic form through feature length films, video installations, and texts. These multi-year projects, often working closely with a group—long haul female truckers, quilters, e-commerce sellers—premise upon collaboration, performance, and experimentation. Reid received her MFA from the University of California, San Diego. Currently she is a PhD Candidate in Film and Digital Media at the University of California, Santa Cruz.

Greta Snider is a San Francisco filmmaker who works with recycled/reclaimed materials and experiments with nonfiction film. Her single screen films on 16mm lean heavily on the creative use of montage, interweaving the personal and historical in a number of short essay films. Her stereoscopic performances and installations take the materiality of film and family photos, to reshape themes of memory, loss, and personal histories in a more intimate, affective experience. She has screened in museums throughout the world, and also in bars, alleyways, and once, at an all-night international rave party in a penthouse in Shibuya. Snider teaches Cinema at San Francisco State. 

TT Takemoto is a queer Japanese American filmmaker exploring hidden dimensions of same sex intimacy in Asian American history. Takemoto manipulates archival and found footage through labor-intensive processes of painting, scratching, and lifting 35mm/16mm emulsion. By engaging tactile dimensions of the archive, Takemoto conjures up immersive queer historical fantasies honoring Asian Americans who lived, loved, and labored together. Takemoto has exhibited widely and received grants from Art Matters, Fleishhacker Foundation, and San Francisco Arts Commission. Takemoto was awarded the Grand Jury Prize for Best Experimental Film at Slamdance and Best Experimental Film Jury Award at Austin Gay and Lesbian International Film Festival.

Founded in Bruce Baillie’s backyard in 1961, Canyon Cinema Foundation (San Francisco, CA) is dedicated to educating the public about independent, noncommercial, experimental, avant-garde, and artist-made moving images. We manifest this commitment by providing access to an unrivaled collection of films to universities and cultural organizations worldwide, and cultivating scholarship and appreciation. We ensure the experience of rare film works in their original medium while also reaching out to new audiences through our growing digital distribution project.