Sharon A. Mooney grew up in Richmond, Virginia. She earned her M.F.A. from The School of Visual Arts in Photo, Video and Related Media and her B.A from Xavier University in Electronic Media. As a filmmaker, she works in experimental, narrative and documentary portraiture all focused on investigating desire and the human condition. Her short videos and installations have screened internationally in festivals and galleries. 

After working in various aspects of film and television, she settled into post-production. Sharon is currently an Associate Professor at the School of Film and Television at Loyola Marymount University in Los Angeles, CA. She has previously taught at School of Visual Arts and DePaul University. As an advocate of women filmmakers, Mooney has co-directed two events at LMU with colleagues: Cinema on the Fringe: 1960’s Exploitation and its Legacies, a two-day book talk and film screening discussing the exploitation industry and the female body, and Grrrls on Film, a three-day film and music festival, recognizing films directed by women and celebrating the rock and Riot Grrrl scenes.

She just finished editing the feature film The Sleeping Negro, with one of her favorite filmmakers, Skinner Myers.

In graduate school, a professor called her sense of humor childish and that's true at least 2/3rds of the time.



Just sitting around making plans and hoping I can see them through. 

Films I've Made

Oh, Poor Amy, Narrative Short 
MemoryDistrust, Holographic short stories
The Story of Everything, NarrativeShort, 16 min.
Yellow Persona, 3-channel Video Installation, 13 min.
Reunion, Narrative Short, 18 min.
The Popcorn Kid, Documentary Short, 13min.
Scarlet, Experimental Short, 5 min.
Horns. Bells. Whistles. Documentary Short, 27 min.
There’s No Reason to go back to Cincinnati, Experimental Short, 2 min.
The Promise Land, Documentary Short, 6:30 min.
Stone Blind, Music Video, 2:34 min
No One Wants to Eat the Parsley, Documentary Short, 6 min.
Automatic,Experimental Narrative, 30 min.
13W, Documentary Short, 6min.
Room 323, Experimental Short, 8 min.
Car Wash, Experimental Short, 3 min.
Sacred Heart, Stop Motion, 4:30 min.
Where the Road Turns Dark, Stop Motion Animation. 5 min.

Films I've helped make

Editor, The Sleeping Negro, Narrative Feature, Dir: Skinner Myers
Editor, One Minute Musical, for 30/30 Vision, a Decade of Strand Releasing, 1 min, Dir: Tommy O'Haver
Editor/Camera/Visual Effects, Razorcake Donation Video, promotional fundraising video for non-profit music magazine, 3:36 min
Editor, Bull Mountain Lookout, Narrative Short, 15 min, Dir: Vanessa Newell
Editor, Quiver, Narrative Short, 12 min, Dir: Shayna Connelly
Producer, Every Ghost has an Orchestra, Documentary Short, 7 min, Dir: Shayna Connelly
Editor, My Fairy Godmother is a Drag Queen, Promotional Book Trailer, 1 min, Dir: Marc Pitre
Cinematographer/ProductionSound, Hanging Out with Norm Macdonald, The Washington Post
Co-Editor, Bug Bites, PBS KIDS TV pilot, Dir. Topher Putnam
Editor, Othello, Narrative Short, Dir: Mikael Kreuzriegler
Producer, Editor, Stage Three, Narrative Short, 28min, Dir: Wendy Roderweiss
Cinematographer, Motion Graphics, Blunt Force Trauma, Narrative Short, 7 min, Dir: Shayna Connelly
Visual Effects Editor, Wait for AmateurMusic Video, 3 min, Dir: Shayna Connelly
Editor, Boys and Girls Club, Gala Film Documentary, Documentary promotional short

Artist Statement

There is a constant battle between my desire to make beautiful images, and with expressing the darker themes lying underneath. If life is filled with contrast, I exploit it. Self- destruction is a sub-plot; making moving images is my way to subvert my own memory- tainted narratives.

I make neo-realistic video work investigating desire and the human condition, weaving between documentary portrait, narrative and experimental modes. My own creative process always creates more questions than answers for me, resulting in rarely being satisfied with a single approach or result. One film leads to the next in an organic, but not particularly linear way. I am influenced by the idea of the “death-drive,” the explorations of the human experience, dark humor and the self-destructive search for the value in life.

Although I consider post-production my niche, the processes through which I work apply to all of the layers of filmmaking. If stratum is a layer within a structure, the structure is filmmaking, and the strata become the modes in which I work. My personal discontent stems my inability to limit the multimodal layers applied to my work.

Deconstructing and reconstructing images within a screen-space is related to the idea of the memory trace, or bits of memories engrained somewhere in our brains that won't let go. These fragments unconsciously resurface to change the way we perceive our realities. This process exists throughout out all of my pieces, as evidenced by framing, projections and/or lens transformations. Images create new and trigger old bits of memories. They not only inform each other, but they blend to reshape the meaning applied to visual stimuli and the traces themselves.

My goal is to find some sort of bridge to connect us to a larger oceanic/feeling of connection as people, connecting collective memories that may not have been destroyed. These are palliative narratives – my work explores the surface measures used to treat our conditions, but not the underlying causes. What is being said is rarely what is meant. Sound works against image, and in that struggle forms a deeper meaning. Strata and its Discontents.

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