JoAnn Elam

Personal life

JoAnn Elam was born April 20, 1949 to James Otis Elam and Elinor Elam. Elam was one of eight children. Elam's father was a well known physician and respiratory researcher who developed the method of rescue breathing, or CPR. Her mother Elinor was what Elam called a "practical activist." She served on the Chicago Jobs Committee, was a member of the Chicago League of Women Voters for more than 40 years and was president from 1972 to 1977, founded and was president of the Child Care Center at South Shore United Methodists Church, and has accomplished much more. Elam's first husband Bill Brand, whom she met at Antioch College, was also a filmmaker. She was also married to Joe Hendrix, whom she met through her fellow employees at the US Post Office. On June 25, 2009, Elam died due to cancer.

Career

After graduating high school, Elam lived in Yellow Springs, Ohio, where she attended Antioch College for a year before deciding that she would not pursue a degree. Even though she no longer attended Antioch College, Elam decided to stay in Yellow Springs because she found an interest in the progressive, political atmosphere of the community surrounding the university. While in Ohio, Elam met her first husband Bill Brand who also studied at Antioch. While Brand worked with and for film teacher Paul Sharits, Elam began working with 8mm films. During the late 1960s Elam began traveling and went to spend a summer in San Francisco, California in 1967. JoAnn didn't have a residence in San Francisco, so she took shelter at friends' places and sometimes slept on the streets. She supported herself by selling and trading knitted clothing she made.

Experimental Film & The Filmgroup

When Brand graduated form Antioch, he and Elam moved to Chicago so Brand could attend the School of the Art Institute of Chicago (SAIC) and receive his MFA. While being around the community at SAIC, Elam became very involved with the experimental film community that was a product of the film department. She befriended Saul Levine, Coleen Fitzgibbon, Marjorie Keller and many others while being involved at SAIC. Elam also spent much of her time attending lectures about experimental film artists.

Since 8mm film became outdated with the distribution of Super-8mm film, it also became cheaper and was easier to use for Elam who didn't have the proper settings for the use of other film types. 8mm film became popular among the experimental film community and the scene grew and formed an aesthetic characteristic with the use of this cheaper, readily accessible tool. Elam used this to her advantage and began experimenting with the medium and documenting her everyday life in Chicago. Finally, with Bill Brand and their friends Warner Wada and Dan O'Chiva, the four formed the Filmgroup, now Chicago Filmmakers. The Filmgroup focused on exhibiting experimental films made by local Chicago filmmakers. While exhibiting these films, the group was also focused on having the artist present to discuss the work after the screenings. Elam became heavily involved because she was left with the tasks of organizing the everyday activities of the organization and she handled all the financial aspects of the organizations.

Rape (1978)

Having already been exposed to a progressive, feminist ideology, Elam's films took the themes and channeled them into her experimental, documentary films. The film that came out from this amalgamation of thoughts on feminism, female representation, and sexual assault was Rape. The film places three women, all rape victims, and the filmmaker, Elam, in a domestic space, one woman's living room. The 35 minute film depicts the women angrily discussing the physical, emotional, and intellectual turmoil the experience has given them. The film gives the women the ability to speak out about what they have endured and it gives them the power needed to address the issue in a wider social context.

Mainly viewed in educational settings, the film has been a subject of conversation in colleges and of feminist film criticism. One review by Vickie Leonard explained how the film acted as if there was a war between men and women and men use rape as a weapon against women. Leonard also states that "'Rape' looks at its subject straight on. It does not flinch or prettify." Peter Steven explained that the film pushed the boundary by encompassing the social change that was seen in the U.S. between men and women and the ideas of gender and sexuality in documentary film.

The film was meant to leave viewers with a reason to discuss rape as a larger issue. By ending the film with an intertitle that flashed and disappeared too quickly to read, it leaves viewers to discuss what should be done about rape but also leaves them to discuss the reason why it should be spoken about. The women in the film also become an item of discussion because they are also political activists that are involved with anti-rape organizations and as stated in Issues in Feminist Film Criticism, the women in the anti-rape organizations "all saw the making of this film as an explicitly public act."

Everyday People (1979-1990)

Everyday People became a work that interested many because of its unfinished state and Elam's insight to the postal service. Writer-in-residence at Art21, Beth Capper, stated that, "the film itself exists in 250 fragments of film, video, and audio elements, and some rough edits, that Elam was consistently working on between 1979 and 1990." Elam kept the focus on the documentary aspect of filmmaking but still focusing on her everyday life in Chicago, as she began working at the US Post Office in 1973.

In making the film, Elam explored "what it meant to represent 'everyday people'" as Capper explained. Elam wanted to breakaway from the representations of the working class by "avant-garde" film. Capper goes on to state that Elam also explored the dynamics within working class structures. However, Elam stayed close to her main focus on gender issues and feminism by stating in her notes on this work that, "the narrators of the film are black, Puerto Rican, and/or women. These groups are under-represented within organized carriers, which are dominated by Irish, Italian and German men. Because of the choice of narrators, issues of racism and sexism are often brought out." Elam had a plan to construct the film from her ideologies in feminism but also present new ideas about the working class and the postal service through the film.