Holly Fisher has been active since the mid-sixties as independent filmmaker, teacher, and editor of feature documentaries including 1989 Academy Award nominee "Who Killed Vincent Chin?". She received her BA Degree in Chinese Art History from Columbia University in 1964, and an MA in Cinema Studies from New York University in 1980. From 1966-71 she collaborated on cinema verité documentaries with a focus on political and environmental issues. Her first documentary, Progress, Pork-barrel, and Pheasant Feathers, 1966, won a blue ribbon for conservation at the Educational Film Library Film Festival (EFLA).
From the early 1970's to the present, she has made numerous experimental films around issues of narrative and perception. Fisher's films were given a retrospective at the Museum of Modern Art in 1995, and have been shown at major museums and festivals in the USA and Europe. Exhibits include two Whitney Museum Biennials; The Beaubourg Museum, Paris, France; "Image Forum," Tokyo, Japan. Her previous feature BULLETS FOR BREAKFAST had a world premier at The Berlin International Film Festival (The Forum, '92); was screened at The London, Stockholm, Galway, Los Angeles, and Chicago International Festivals; and received "Best Experimental Film Award" at the 1992 Ann Arbor Film Festival.
She has received numerous awards, including grants from The Jerome Foundation, The American Film Institute, and The New York State Council on the Arts. Fisher's film works are in the collections of the Donnell Film Library, the Museum of Modern Art, and the Parabola Arts Foundation. Most recently her films Ghost Dance and Soft Shoe were included in The Whitney Museum Series "The Color of Ritual", fall 2000. Fisher premiered her feature video documentary "KALAMA SUTTA: Seeing is Believing" in The Forum of the Berlin International Fim Festival, Feb. 2001. (12/07)
Bullets for Breakfast
A film by Holly Fisher, 1992, 77 min., Color
BULLETS FOR BREAKFAST is a sublime essay film which sits at the frontier of its genre. Holly Fisher describes the film as “a Western filtered through...