Private Project

The Etiquette of Massacres (with Hard Coded Captions)

(Version with Hard Coded Captions) Mass shootings in the United States have become so common that they impact the way we live, the way we see ourselves, and the way we experience grief, almost on a daily basis. We forget some and not others. We grieve more and less at different times. We do not know how to properly honor the dead, and though we seek to protect the living, political obstacles seem to prevent us from escaping the seemingly endless rounds of guns, the seemingly endless number of massacres. We adapt to the onslaughts. But what adaptations allow us to keep our souls? In "The Etiquette of Massacres" filmmaker Alexandria Searls documents her reactions to the Pittsburgh synagogue massacre. A painted bridge offers a metaphor for our collective predicament. This film premiered at the Feminist Border Arts Film Festival in Arizona in March 2019.

  • Project Type:
  • Runtime:
    9 minutes 31 seconds
  • Aspect Ratio:
    1920 x 1080
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • Feminist Border Arts Film Festival

    United States
    North American premiere
Director Biography

Alexandria Searls is an environmental educator and non-profit Executive Director who teaches photography, film, and other arts of exploration at the Lewis & Clark Exploratory Center in Charlottesville, Virginia. Previously, she worked as an editor for a documentary film company, the James Agee Film Project, and she taught media production at the University of Virginia. In the early 2000s, she made documentary short films about protests and other conflicts in society. "Party and Protest," about the Bush inauguration protests, was screened at the Maryland Film Festival, among others. "Black Spot," about U.S. military stockpiling, showed at the International Film Festival Rotterdam, and "The End of My Enchilada," which portrayed the filmmaker being interviewed by Homeland Security in a Mexican restaurant, was shown at the Big Muddy Film Festival.

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