North American Tour
Presented in association with UCLA Film & Television Archive and supported in part by grants from the Getty Foundation and The Andy Warhol Foundation for the Visual Arts. The series is curated by Al yson Nadia Field, Jan-Christopher Horak, Shannon Kelley, and Jacqueline Stewart.
The Andy Warhol Foundation for the Visual Arts
L.A. RebeLLioN Comes Home
There are projects that take on a life of their own, as if reality suddenly asserts Jacqueline not only kick-started the whole project as part of her "internship" itself, grabbing an idea and shaking it so that it grows and grows. Such has been work for the Archive, but remained a vital member of the curatorial team. the case with "L.A. Rebel ion: Creating a New Black Cinema."
Next, the Archive hired Moving Image Archive Studies graduate Tony Best, who had previously volunteered on the L.A. Rebel ion project and played an
It all began with a very modest idea to participate in the Getty Foundation-
important role in coordinating all our efforts. Numerous graduate students
funded exhibition Pacific Standard Time: Art in L.A. 1945-1980. I had met Bil y ably assisted the curatorial effort, including Robyn Charles, Samantha Shep-
Woodberry in 1984 at the Berlin Film Festival and shown his work in Roches-
pard, Nina Lavelanet, Michel e Geary, Kevin McMahon, Michael Bright, Michael
ter, New York at George Eastman House. Bil y still works at UCLA. UCLA Film Kmet, Jane'a Johnson, Maya Smukler, Samuel Prime, Yasmin Damshenas and
& Television Archive had of course preserved a number of Charles Burnett's Diamond McNeil.
films, including Kil er of Sheep (1977), which was subsequently named to the National Film Registry of American Films. Previous UCLA film programmers, Final y, we welcomed a new dean of the School of Theater, Film and Television, including Andrea Alsberg, Cheng-Sim Lim and Mimi Brody floated, at various Teri Schwartz, whose strategic goals of humanistic storytel ing, global diversity, times, the idea of an L.A. Rebel ion program. So, it was an idea whose time and social and civic responsibility informed this project almost from the begin-had come. When we wrote our first grant application, we thought we would ning. The institutional vision she brought al owed the Archive to realize its show the work of 10, maybe 12, UCLA film students. Now we know there mission to recuperate and restore the cinematic legacy of the L.A. Rebel ion, are more than five times as many, even if many of them were filmmakers and make it publicly accessible.
only briefly. It has become a project involving almost every staff member in Then the period of discovery began. The first Getty grant cal ed for oral histo-
ries with the participants, and it was through the process of talking to one L.A.
The first changes came, however, to our curatorial team. After the group, Rebel ion filmmaker, then another, capturing each one's story, that the sheer including myself and head programmer Shannon Kel ey, had formulated our size of the movement became apparent, as each narrator mentioned names original concept, Professor Al yson Nadia Field joined the faculty of the School we were previously unfamiliar with. Even at this writing, we are still trying to of Theater, Film and Television. Since she wrote her dissertation on African contact some of our missing filmmakers. Sadly we lost our beloved UCLA American political modernism in cinema, it was only natural that she join the School of Theater, Film and Television col eague Teshome Gabriel, who was curatorial team. Just as serendipitous, Professor Jacqueline Stewart, a member a teacher, mentor and cohort member of the Rebel ion. And unfortunately, of the Radio/Television/Film and African American Studies departments at the talented Anita Addison and Melvonna Bal enger have also passed, as has Northwestern University, asked to spend a year at UCLA Film & Television former cohort member Akintunde Ogunleye. Final y, our dear friend, Jamaa Archive and the Moving Image Archives Program learning about film archiving. Fanaka, was ecstatic to see the original iteration of the show in Los Angeles, Her book, Migrating to the Movies: Cinema and Black Urban Modernity, has but passed away in April 2012.
become a standard text in film studies since its publication in 2005.
Research into publicly available film sources, as well as discussions with the to children and gender issues; their wil ingness to question any and all received L.A. Rebel ion filmmakers, made us realize that any film program would have wisdom; their identification with all the young liberation movements in the to rely on a massive effort by al departments of the Archive to find, recover, Third World; and their expression of Black pride and dignity.
restore or reconstitute, catalog, preserve and protect the films of these first An abridged version of "L.A. Rebel ion: Creating a New Black Cinema" now
generations of Black UCLA film students. Over three years, we got to know tours selected venues in North America in 2012 and 2013. This first compre-
the filmmakers, col ected their work and saw the amazing expression of a uni-
hensive film program of the L.A. Rebel ion and its subsequent tour is only
fied and utopian vision of a community.
the first iteration of a continuing dialogue between the Archive, the filmmak-
Unfortunately, less than 40 years after most of the L.A. Rebel ion films were ers and our audience. Our new L.A. Rebel ion website continues to expand, made, many have been lost, damaged, faded to red, or survived only as video functioning as a portal to some of the films. A book length study of the L.A. copies. As I told my curatorial team, we were engaging essential y in an archeo-
Rebel ion will fol ow in the coming years, as will our efforts to preserve more
logical project, where we had to consider every L.A. Rebel ion film and tape of the work and make it accessible in analog and digital formats. We've already we received as possibly the only surviving material. It therefore became a added one newly discovered film to the tour.
prospect for preservation, even if it was a bad video transfer of a beat-up work Happily, our project has expanded in scope and depth thanks to the generous
print on a three-quarter-inch tape that we had to literal y bake to retrieve support of many institutions. First and foremost, the Getty Foundation sup-
ported research, film series and publications, while further programming funds
The film program is therefore a compromise between the ideal and the pos-
were contributed by the Academy of Motion Picture Arts & Sciences, the
sible. It includes several new restorations, as wel as a few more new preserva-
National Endowment for the Arts, and the Andy Warhol Foundation. The last
tion prints. In other cases, the fragile nature of the original media has led to named also provided preservation funds as did the National Film Preservation the production of digital copies, some of them digital y restored. Indeed, never Foundation, the Stanford Theatre Foundation, and the Packard Humanities has the Archive shown as much digital work as in this series. That too is a sign Institute. Final y, we have to thank the L.A. Rebel ion filmmakers themselves of the times
for their wonderful work and for their enthusiastic cooperation in making this program a success.
As we discovered one filmmaker at a time and one film after another, the cura-torial team realized that this was not just a matter of a few isolated students who Dr. Jan-Christopher Horakhad made good in the film world, but a movement, a social phenomenon. What Directormade them a discovery worth putting back onto the historical map was their youthful exuberance; their utopian vision of a better society; their sensitivity
iNTRoduCTioN To THe PRogRAm
"L.A. Rebel ion" is a handy and appealing designation for something far too ers/ citizens who came to the opportunity of film school so versed in complex momentous to contain in a name. Nevertheless one is faced with an extraor-
issues, artistic influences and life experiences as to make them the fulfil ment
dinary single fact: At a particular time and place in American cinema history, of the school's wishes seemingly upon arrival. Their frequent col aborations a critical mass of filmmakers of African origin or descent together produced a with other students of color, and concerted engagements with cinemas and rich, innovative, sustained and intel ectual y rigorous body of work, indepen-
concerns of the Third World, enlarged the significance of their work perhaps
dent of any entertainment industry influence. This, in the interest of realizing further than anyone might have anticipated, demonstrated by a trail of interna-a new possibility for "Black" cinema, stated in its own terms on the good tional awards. The extensions of their legacies to the present day, in commer-authority of its creators, and sensitive to the real lives of Black communities in cial markets, alternative distribution enterprises, public educational settings the U.S. and worldwide.
and the festival circuit, further demonstrate their longevity and permanence.
This is the first comprehensive exhibition of the moving image legacy of the In this touring edition of our inaugural exhibition, we proudly present thirty-L.A. Rebel ion, as well as the first sustained intel ectual engagement with the six representative works from their careers. Ranging from wel -known films movement as a social phenomenon. Bits and pieces of the story have been whose place is secure in the canon to student films seldom seen since school told before, in articles and chapters of books on minority film practice, in panel days, the series reveals a panoply of visions that do honor to individuals as discussions and at retrospective screenings of key films. A group of African and well as the col ective. Given the two decades during which their presence African American students entered the UCLA School of Theater, Film and was especial y felt at UCLA, and the decades since that period, one senses Television, many specially recruited under a concerted "ethno-communica-
a continued unfolding as individual artists focus on diverse topics and respond
tions" initiative designed to be responsive to communities of color (including to evolving political and artistic thought. Explorations of class, considerations also Asian, Chicano and Native American communities). In this setting, they of historical legacies, stories attentive to concerns of local communities would be given access to equipment, instruction, and (implicitly, eventual y) and appreciations of other Black arts are only some of the areas of inquiry. the distribution and marketing mechanisms of mainstream film practice, which Happily, the films also display a diversity of forms, including irreverent recon-would in turn be enriched by the needed and salutary messages these young figurations of wel -worn genre types and groundbreaking experiments with talents would bring.
cinematic language. Certain works, long out of circulation, represent rediscov-eries that will bring joy and certainly much future scholarship. Many works are
The legacy of these film and video works tel s another story—not a contradic-
presented here in new prints and restorations undertaken by UCLA Film &
tion, but an extension. As a body of work, its surprising narrative suggestions Television Archive.
about everyday life and feelings, its resourceful adaptations of international cinema techniques and energies and its introduction of new distinctions in It has been an honor to prepare this exhibition with the involvement of so form, its political astuteness and determination, and above all the clarity of many of the filmmakers. To them we are grateful, and we commend audiences purpose that infuses its very diverse individual contributions, bespeak a group to their works and this program with great excitement.
project that is every bit as critical of the assumptions of mass media institu-
tions as it is glad for the access to tools with which to confront those institu-
Head of Public Programs
tions and assumptions. Furthermore, it reveals a group of students/filmmak-
"L.A. Rebel ion: Creating a New black Cinema" represents a compilation of both wel -known and extremely rare works in a wide variety of moving image formats. In some cases we are presenting the only surviving viewing prints, containing visible damage accumulated over the years. In many cases we have made brand new prints for the first time in decades. For selected titles we have undertaken full restoration, utilizing both photochemical and digital technologies. When no projectable print survives and new prints have not yet been created, we are showing new (unrestored) digital transfers. New film prints and full restorations are noted under their respective catalog listings.
As AboVe, so beLoW ANd sHoRT FiLms
Kwei Armah's novel, Two Thousand Seasons, Caldwell meditates on reciprocity and on the concept of "I and I" which postulates no division between people,
Directed by: Ben Caldwel . Producer: B. Caldwel . Screenwriters:
whereas the splitting of "you" from "I" is an invention of the devil designed to
B. Caldwel , Leroy Jones. Cinematographer: B. Caldwel . Editor: B.
brew trouble in the world.
Caldwel . Digital video transferred from 16mm, color, 7 min.
Al yson Nadia Field
Ben Caldwel 's Medea, a col age piece made on an animation stand and edited Preserved from the original 16mm color and b/w reversal a/b rolls, a 16mm
entirely in the camera, combines live action and rapidly edited still images of color internegative, the original 35mm magnetic soundtrack and the original
Africans and African Americans which function like flashes of history that an 35/32mm track negative. Laboratory services by Fotokem, Audio Mechanics,
unborn child will inherit. Caldwell invokes Amiri Baraka's poem "Part of the DJ Audio.
Doctrine" in this experimental meditation on art history, Black imagery, iden-
tity and heritage.
uJAmii uHuRu sCHuLe CommuNiTY
Al yson Nadia Field
FReedom sCHooL 1974
i & i: AN AFRiCAN ALLegoRY
Directed by: Don Amis. Producer: D. Amis. Cinematographer: D.
Amis. Editor: D. Amis.
Preservation funded in part by a grant from the National Film Preserva-
Digital video transferred from 16mm, color, 9 min.
Ujami Uhuru Schule (Swahili for Community Freedom School) is the day-in-the-
Directed by: Ben Caldwel . Producer: B. Caldwel . Screenwriter: B.
life portrait of an Afrocentric primary learning academy located in South Los
Caldwel . Cinematographer: B. Caldwel . Editor: B. Caldwel . With:
Angeles. Focusing on the virtues of the three Rs—Respect, Righteousness and
Pamela B. Jones, Al Cowart, Marcia Bul ock, Pearl Col ins, Byron Simmons.
Revolution—the curriculum also teaches the importance of cultural values and
16mm, color, 32 min.
self-defense. Shot in high contrast to emulate the color spectrum of the Pan-African flag, Don Amis punctuates the documentary with African chants, synco-
Ben Caldwel designed I & I as a "résumé piece" to showcase his skil s in experi-
pated drums and poignant narration by the school's faculty. Learn, baby, learn.
mental filmmaking, dramatic filmmaking and documentary. Drawing from Ayi Tony Best
As AboVe, so beLoW 1973
Directed by: Larry Clark. Producer: L. Clark. Screenwriter: L. Clark.
Cinematographer: L. Clark. Editor: L. Clark. With: Nathaniel Taylor,
Lyvonne Walder, Bil y Middleton, Gail Peters, Kodjo.
16mm, color, 52 min.
A rediscovered masterpiece, Larry Clark's As Above, So Below comprises a pow-erful political and social critique in its portrayal of Black insurgency. The film opens in 1945 with a young boy playing in his Chicago neighborhood and then fol ows the adult Jita-Hadi as a returning Marine with heightened political con-sciousness. Like The Spook Who Sat By the Door and Gordon's War, As Above, So Below imagines a post-Watts rebel ion state of siege and an organized Black underground plotting revolution. With sound excerpts from the 1968 HUAC report "Guerril a Warfare Advocates in the United States," As Above, So Below is one of the more political y radical films of the L.A. Rebel ion.
Al yson Nadia Field
New print struck from a new 16mm internegative off the original 16mm color
reversal a/b rolls, and a new 16mm track negative off the original 16mm
magnetic soundtrack mix.
bLACK ART, bLACK ARTisTs ANd sHoRT FiLms
bLACK ART, bLACK ARTisTs 1971
Oblique, episodic meditations on the semiotics and ethics of ethnic female identity are accompanied by a blandly cynical narrator explaining how to "win
Directed by: Elyseo J. Taylor. With: Van Slater.
an invitation to the dominant culture."
Digital video transferred from 16mm, color, 16 min.
As the only Black faculty member in UCLA's film school, Elyseo Taylor was an influential teacher and advocate for students of color. In voiceover dialogue beLLYdANCiNg—A HisToRY & AN ART 1979
with woodcut printmaker Van Slater, Taylor's film examines the status of con-
temporary Black artists. A visual survey of Black art since the 19th century, Directed by: Alicia Dhanifu. Producer: A. Dhanifu. Screenwriter:
punctuated with jazz and blues selections, it outlines pressures to prove artis-
A. Dhanifu. Cinematographer: Gary Gaston. Editor: Jerry Weissman.
tic capability, to suit white and middle-class Black tastes and to make explicit With: A. Dhanifu.
Digital video, color, 22 min.
Alicia Dhanifu, who appears in Jamaa Fanaka's Emma Mae, constructs a rigorous and beautiful y rendered history of bel y dancing—its roots
and history, forms and meanings. The filmmaker performs this art as wel , alone and with other dancers.
Directed by: Julie Dash. Producer: Winfred Tennison. Screenwriter: J.
Dash. Cinematographer: Robert Maxwell. Editor: J. Dash. With: Linda
Martina Young. 16mm, color, 7 min.
FesTiVAL oF mAsK 1982
Set to Nina Simone's stirring bal ad of the same name, Julie Dash's dance film Directed by: Don Amis. Producer: D. Amis. Screenwriters: D. Amis,
features Linda Martina Young as strong "Aunt Sarah," tragic mulatto "Saf-
Jennifer Amis. Cinematographers: D. Amis, Ben Caldwel , Dan Riesenfeld,
fronia," sensuous "Sweet Thing" and militant "Peaches." Kinetic camerawork Don Cropper, Jeff Fazio. Editor: D. Amis. With: Carmen Stetson (narrator).
and editing, richly colored lighting, and meticulous costume, makeup and hair Digital video transferred from 16mm, color, 25 min.
design work together with Young's sensitive performance to examine long-
standing Black female stereotypes from oblique, critical angles.
Don Amis was one of the very few Black student filmmakers at UCLA (includ-ing Carroll Parrott Blue, Stormé Bright and Denise Bean) working in a docu-
mentary mode. In this film, preparations, parade and performances from the Craft and Folk Art Museum's annual Festival of Mask il ustrate L.A.'s diverse
New print struck from the original 16mm color negative a/b rolls and the
racial and ethnic communities (African, Asian, Latin American) expressing
original 16mm track negative.
themselves through a shared traditional form.
Directed by: O.Funmilayo Makarah. Producer: O.Funmilayo Makarah.
Screenwriter: O.Funmilayo Makarah. Cinematographers: Hiroko
Yamazaki, Quinta Seward. Editor: O.Funmilayo Makarah. With: H. Yama-
zaki, Kel y A. Hashimoto, O.Funmilayo Makarah, Quinta Seward, Yreina D.
Cervantez, Zeinabu irene Davis.
Digital video, color, 5 min.
bLess THeiR LiTTLe HeARTs 1984
Preservation funded by the National Film Preservation Founda-
tion and the Packard Humanities Institute.
Directed by Billy Woodberry
Producer: B. Woodberry. Screenwriter: Charles Burnett. Cinema-
tographer: C. Burnett. Editor: B. Woodberry. With: Nate Hardman,
Kaycee Moore, Angela Burnett, Ronald Burnett, Kimberly Burnett.
35mm, b/w, 84 min.
Bless Their Little Hearts represents the closure and pinnacle of a neo-realist time feature director delivered bril iantly, and the result is an ensemble work strand within what's now described as the L.A. Rebel ion, which dates to that represents the cumulative visions of Woodberry, Burnett and their excel-Charles Burnett's Several Friends (1969). Bil y Woodberry's film chronicles the lent cast.
devastating effects of underemployment on a family in the same Los Angeles Whereas Burnett's original scenario placed emphasis on the spiritual crisis of
community depicted in Kil er of Sheep (1977), and it pays witness to the ravages Hardman's Charlie Banks, the then-married Woodberry, alongside Moore and
of time in the short years since its predecessor. Nate Hardman and Kaycee Hardman, further developed the domestic relationships within the film and
Moore deliver gut-wrenching performances as the couple whose family is torn articulated the depiction of a family struggling to stay alive in a world of rapidly
apart by events beyond their control. If salvation remains, it's in the sensitive vanishing prospects.
depiction of everyday life, which persists throughout.
In retrospect, the film's ending can be seen as a spiritual goodbye not just
By 1978, when Bless' production began, Burnett, then 34, was already an elder for Banks, but for Burnett, who would move away from his neo-realist work
statesman and mentor to many within the UCLA film community, and it was with his next film, the classic To Sleep With Anger (1990); for Woodberry, who
he who encouraged Woodberry to pursue a feature length work. In a tel ing moved into documentary; and for Hardman, who left acting shortly after. The
act of trust, Burnett offered the newcomer a startlingly intimate 70-page origi-
film remains an unforgettable landmark in American cinema.
nal scenario and also shot the film. He furthermore connected Woodberry with his cast of friends and relatives, many of whom had appeared in Kil er of Ross LipmanSheep, solidifying the two films' connections.
Preserved from the original 16mm b/w negative a/b rolls and the original
Yet critical y, he then held back further instruction, leaving Woodberry to 16mm optical soundtrack by UCLA Film & Television Archive's preserva-
develop the material, direct and edit. As Woodberry reveals, "He would tion department. Laboratory services by Stanford Theatre Film Laboratory,
deliberately restrain himself from giving me the solution to things." The first-
Audio Mechanics and NT Picture and Sound.
THE POCKETBOOK 1980
Preservation funded in part by a grant from the Andy Warhol
Foundation for the Visual Arts.
Directed by: Bil y Woodberry. Producer: B. Woodberry. Screenwriter:
B. Woodberry. Cinematographers: Mario DeSilva, Gary Gaston, Charles
Burnett. Editor: B. Woodberry. With: El a "Simi" Nelson, Ray Cherry,
David Jenkins, Al Wil iams, Christopher Thompson, Phil ip Weatherspoon.
35mm, b/w, 13 min.
In the course of a botched purse-snatching, a boy comes to question the path of his life. Bil y Woodberry's second film, and first completed in 16mm, adapts Langston Hughes' short story, Thank You, M'am, and features music by Lead-bel y, Thelonious Monk and Miles Davis.
Preserved from the original 16mm b/w reversal a/b rolls and the original
16mm mag track by UCLA Film & Television Archive's preservation depart-
ment. Laboratory services by Stanford Theatre Film Laboratory, Audio
Mechanics and NT Picture and Sound.
Directed by Haile Gerima
Producer: H. Gerima. Screenwriter: H. Gerima. Cinematographers:
Charles Burnett, Roderick Young. Editor: H. Gerima. With: Barbara-O
(Barbara O. Jones), Johnny Weathers, Susan Williams, Cora Lee Day.
16mm, b/w, 97 min.
Inspired by seeing a Black woman in Chicago evicted in winter, Haile Gerima Preceded by:
developed Bush Mama as his UCLA thesis film. Gerima blends narrative fic-
DAYDREAM THERAPY 1977
tion, documentary, surrealism and political modernism in his unflinching story Directed by: Bernard Nicolas. Producer: B. Nicolas. Screenwriter: B.
about a pregnant welfare recipient in Watts. Featuring the magnetic Barbara Nicolas. Cinematographer: B. Nicolas. Editor: B. Nicolas. With: Marva
O. Jones as Dorothy, Bush Mama is an unrelenting and powerful y moving look Anderson, Keith Taylor, Gay Abel-Bey, Larry Bel , Jeff Cox.
at the realities of inner city poverty and systemic disenfranchisement of African Digital video transferred from 16mm, b/w and color, 8 min.
Americans. The film explores the different forces that act on Dorothy in her daily dealings with the welfare office and social workers as she is subjected Daydream Therapy is set to Nina Simone's haunting rendition of "Pirate Jenny"
to the oppressive cacophony of state-sponsored terrorism against the poor. and concludes with Archie Shepp's "Things Have Got to Change." Filmed in
Motivated by the incarceration of her partner T.C. (Johnny Weathers) and the Burton Chace Park in Marina del Rey by activist-turned-filmmaker Bernard
protection of her daughter and unborn child, Dorothy undergoes an ideologi-
Nicolas as his first project at UCLA, this short film poetical y envisions the
cal transformation from apathy and passivity to empowered action. Ultimately fantasy life of a hotel worker whose daydreams provide an escape from work-
uplifting, the film chronicles Dorothy's awakening political consciousness and place indignities.
her assumption of her own self-worth. With Bush Mama, Gerima presents a piercing critique of the surveil ance state and unchecked police power. The film Allyson Nadia Fieldopens with actual footage of the LAPD harassing Gerima and his crew during the film's shooting.
Allyson Nadia Field
New print struck from a 16mm b/w duplicate negative and the original 16mm
CHiLd oF ResisTANCe ANd sHoRT FiLms
CHiLd oF ResisTANCe 1972
L.A. iN mY miNd 2006
Directed by: Haile Gerima. Producer: H. Gerima. Screenwriter: H.
Directed by: O.Funmilayo Makarah. Producer: O.Funmilayo Makarah.
Gerima. Cinematographer: Reed Hutchinson. Editor: H. Gerima. With: Screenwriter: O.Funmilayo Makarah. Cinematographer: O.Funmilayo
Barbara O. Jones, James Dougal .
Makarah. Editor: O.Funmilayo Makarah.
16mm, color/b/w, 36 min.
Digital video, color, 4 min.
Inspired by a dream Haile Gerima had after seeing Angela Davis handcuffed A captivating montage of notable Los Angeles sites, laced with free-floating on television, Child of Resistance fol ows a woman (Barbara O. Jones) who has names of places and people and accompanied by street noises, becomes a been imprisoned as a result of her fight for social justice. In a film that chal-
delightful and personal canon of spiritual y sustaining quantities.
lenges linear norms of time and space, Gerima explores the woman's dreams Shannon Kelley
for liberation and fears for her people through a series of abstractly rendered fantasies.
excerpt from THe dAWN AT mY bACK:
Allyson Nadia Field
memoiR oF A bLACK TeXAs uPbRiNgiNg
bRiCK bY bRiCK 1982
Directed by: Shirikiana Aina. Producer: S. Aina. Screenwriter: S.
Directed by: Carroll Parrott Blue, Kristy H. A. Kang. Producer: Marsha
Aina. Cinematographers: El en Sumter, Norma Blalock. Editor: S. Aina.
Kinder. Writer: C. Parrott Blue. With: C. Parrott Blue, Debbie Al en,
With: Lester Wakefield (narrator).
Ruby Dee, Ossie Davis (narrators).
Digital video transferred from 16mm, color, 33 min.
Digital video, adapted from DVD-ROM, color, 10 min.
Brick by Brick documents a late-'70s Washington, D.C., ignored by the media, This evocative excerpt from the Labyrinth Project's DVD-ROM, based on a and from which poor Black residents are being pushed out. Images of monu-
memoir by Carrol Parrot Blue, leads viewers on a rich visual and textual explo-
ments contrast with prescient images of gentrification and homelessness. An ration of Blue's family history, and of the history of Houston's black community. alternative is provided by the Seaton Street project, in which tenants united Using her great-grandmother's quilt as an interface, Blue and co-director Kristy to purchase buildings. Participants discuss their effort as part of a worldwide H. A. Kang create plateaus of historical and narrative interest in a series of visual struggle against displacement.
"panscapes," constructed from original photographs, video and archival materi-als, and the spoken word. Winner of the 2004 Sundance Online Film Festival
Jury Award in New Forms.
Directed by: Melvonna Bal enger. Producer: M. Bal enger. Screen-
writer: M. Bal enger. With: Evlynne Braithwaite, Bernard Nicolas, Ijeoma
Iloputaife, Michael Friend, Keith Wil iams.
Digital video, transferred from ¾" video tape, b/w, 16 min.
Melvonna Bal enger's Rain shows how awareness can lead to a more fulfil ing life. In the film, a female typist goes from apathetic to empowered with the help of a man giving out political fliers on the street. Using John Coltrane's song "After the Rain," Bal enger's narration of the film meditates on rainy days and their impact. The rain in this short film doesn't signify defeat, but offers renewal and "a chance to recol ect, a cool out."
Directed by Zeinabu irene Davis
Producers: Z. irene Davis, Marc Arthur Chery / Wimmin with a Mission
Productions. Screenwriter: M. Arthur Chéry. Cinematographer:
Pierre H. L. Désir. Editors: Dana Briscoe, Z. irene Davis. With: John Earl
Jelks, Michelle A. Banks, Nirvana Cobb, Kevin L. Davis, Christopher Smith.
Digital video transferred from 16mm, color/b/w, 90 min.
Zeinabu irene Davis' first feature depicts two Chicago love stories, one set at lost film, as well as her extensive use of archival photographs and a ragtime the dawn of the 20th century and the other in contemporary times, featuring a score by Reginald R. Robinson, make visible the creative efforts required to deaf woman and a hearing man. Played by the same actors (Michel e A. Banks reconstruct and understand the under-documented Black past.
and John Earl Jelks), both couples face the specter of death when the man is Jacqueline Stewart
diagnosed with tuberculosis in the early story, and the woman with AIDS in
the contemporary one. Inspired by a poem by Paul Laurence Dunbar (who Preceded by:
died of tuberculosis in 1906, at the age of 33), the film considers the ephemeral
nature of love and life, while il ustrating the enduring chal enges of race, and DARK EXODUS 1985
racism, over the course of a century. At the same time, Arthur and Malindy/ Directed by: Iverson White. Producer: I. White. Screenwriter: I.
Malaika and Nico confront intraracial differences across lines of gender, class, White. Cinematographer: Lindy Laub. Editor: I. White. With: John
education and ability, emphasizing the diversity of Black experience and the Jelks, Harold House, Jeffrey Dixon, Geraldine Dunston, Starletta DuPois,
necessary work of building meaningful lines of communication within the Black Neal Jimenez.
16mm, b/w and color, 28 min.
One of the most striking aspects of Compensation is its unusual narrative Subjected to Jim Crow laws and an overtly racist white population that still
approach. Upon casting deaf actress Banks, Davis and screenwriter Mark sees Black people as property, an African American family in the South sends
Arthur Chéry modified the film to incorporate sign language and title cards, its sons away to a better life. Visualizing the migration of African Americans
making it accessible to both deaf and hearing audiences. The film's relative from the rural South to the urban, industrial North in sepia tones, Iverson
silence and use of ornate title cards also function as an homage to Black film-
White's period film captures the atmosphere of early 20th century America.
makers of the silent era, to whom Davis nods when she sends Arthur and Malindy to the movies to see Wil iam Foster's The Railroad Porter (1913), thought Jan-Christopher Horak to be the first fiction film by a Black filmmaker. Davis' re-enactment of this long
New print struck from the original 16mm b/w negative a/b rolls and the
original 16mm track negative.
dAugHTeRs oF THe dusT 1991
Preservation funded by the Packard Humanities Institute.
Directed by Julie Dash
Producer: J. Dash. Screenwriter: J. Dash. Cinematographer: A. Jaffa
Fielder. Editors: Amy Carey, Joseph Burton. With: Cora Lee Day, Alva Rog-
ers, Barbara-O (Barbara O. Jones), Adisa Anderson, Kaycee Moore, Cheryl Lynn
Bruce, Tommy Hicks.
35mm, color, 112 mi
Julie Dash's 1991 masterpiece was her first feature, and the first American in ameliorating historical wrongs, the hope of spiritual escape from a history of feature directed by an African American woman to receive a general theatrical trauma, and the elusive possibility of finding deliverance together. release. It announced a formidable talent, and in the grandeur and intricacy Shannon Kelley
of its formal construction and themes, powerful y emblematized its director's purposeful commitment to cinema.
Fully timed second answer print struck from original 35mm color internega-
Abounding with surprise, the film transports us to a little-known setting to tive. Laboratory services provided by Janice Allen, Cinema Arts, Inc.
unfold a universal tale. The year is 1902, in the home of an extended family of
Gul ah people, descendants of African Captives living on islands off the coast Preceded by:
of South Carolina and Georgia where they maintain strong connections to THE DIARY OF AN AFRICAN NUN 1977
African linguistic and cultural traditions. Here, many members of the Peazant Preservation funded in part with a grant from the National Film Preserva-
family are on the verge of a planned migration to the U.S. mainland, where tion Foundation.
American modernity seems, vaguely, to offer a better life.
However, family members clash over the meaning of this move. Viola, who has Directed by: Julie Dash. Producer: J. Dash. Based on the short story
lived up North and returned as a Christian convert, views the crossing as a by: Alice Walker. Cinematographer: Orin Mitchel . Editor: J. Dash.
step out of bankrupt African superstitions into a kind of light. Scandal-tinged With: Barbara O. Jones, Barbara Young, Makimi Price, Ron Flagge, Renee
"Yel ow Mary," returning to the family from a long self-exile, still asserts her Carraway.
independence but fears losing the touchstone of home. Nana Peazant, the Digital video transferred from 16mm, b/w, 15 min.
aged matriarch, refuses to migrate and frets over the possibility of broken fam-
ily ties and lost traditions. Eulah, young and with child, fears that the family's A nun in Uganda weighs the emptiness she finds in her supposed union with
plan represents a futile flight from intractable legacies of pain.
Christ. Adapted from a short story by Alice Walker, the film was a bold first move by its director toward narrative filmmaking. Its graphic simplicity and
A bril iant cast enacts these negotiations with exceeding depth, befitting the pantomimed performance by Barbara O. Jones give it an intensity that antici-
weight of the decision the Peazants face: to embrace the land that other Afri-
pates Julie Dash's work on Daughters of the Dust.
cans once fled. Dash constructs their home as a rarefied world, possibly soon
a "paradise lost," through a masterful interplay of mise-en-scène, symbolic Shannon Kelley
markers and magical realist gestures. All of this is graced by the luminous
cinematography of A. Jaffa Fielder and John Barnes' stunningly original score. Preserved from the original 16mm b/w negative a/b rolls (blown up from
Named to the National Film Registry in 2004 by the Library of Congress, Super 8 reversal camera original) and the original 16mm optical soundtrack.
Daughters of the Dust eloquently frames concerns that have preoccupied many Laboratory services by NT Picture and Sound, Audio Mechanics, Fotokem.
independent filmmakers of Dash's generation: the place of family and tradition
A diFFeReNT imAge ANd sHoRT FiLms
A diFFeReNT imAge 1982
WATeR RiTuAL #1: AN uRbAN RiTe
Directed by: Alile Sharon Larkin. Producers: Claudine Mitchel , Dankwa
oF PuRiFiCATioN 1979
Khan. Screenwriter: A. Sharon Larkin. Cinematographer: Charles
Preservation funded with a grant from the National Film Preservation
Burnett. Editor: A. Sharon Larkin. With: Margot Saxton-Federel a, Adisa
Foundation's Avant-Garde Master's Grant Program funded by The Film
16mm, color, 51 min.
Directed by: Barbara McCullough. Producer: B. McCullough. Screen-
An African American woman living away from her family in Los Angeles yearns writer: B. McCullough. Cinematographers: Peter Blue, Ben Caldwel ,
to be recognized for more than her physical attributes. In cultivating the friend-
Roho. Editor: B. McCul ough.
ship of a male office mate, she aspires to a relationship where sex is not a fac-
35mm, color, 6 min.
tor, seeking someone who can "see her as she is," rather than see only what he wants to see.
Made in col aboration with performer Yolanda Vidato, Water Ritual #1 exam-ines Black women's ongoing struggle for spiritual and psychological space
Samuel B. Prime
through improvisational, symbolic acts. Shot in 16mm black-and-white, the film was made in an area of Watts that had been cleared to make way for the I-105
freeway, but ultimately abandoned. Though the film is set in contemporary L.A., at first sight, Milana and her environs (burnt-out houses overgrown with weeds)
Directed by: Zeinabu irene Davis. Producer: Z. irene Davis. Screen-
might seem to be located in Africa or the Caribbean, or at some time in the
writer: Doris-Owanda Johnson. Cinematographer: Pierre Hermann
past. Structured as an Africanist ritual for Barbara McCul ough's "participant-
Désir. Editor: Z. irene Davis. With: Stephanie Ingram, Darryl Munyungo
viewers," the film addresses how conditions of poverty, exploitation and anger
Jackson, Marc Chéry, Doris-Owanda Johnson, Z. irene Davis.
render the Los Angeles landscape not as the fabled promised land for Black
Digital video transferred from 16mm, b/w, 17 min.
migrants, but as both cause and emblem of Black desolation. Inspired in part by the mental breakdown of a female friend of McCul ough's who retreated
As a woman anxiously awaits her overdue period, she performs African-
into "her own internal being," the film nonetheless suggests that sites of urban
based rituals of purification. She cleans house and body, and cal s on the spir-
blight can be activated as consecrated ground. Water Ritual #1 honors Black/
its (Orishas in the Yoruba tradition), receiving much needed inspiration and Third World women's beauty and self-possession, and has been recognized as
assurance in a dream. The film combines beautiful y intimate stil and moving a pioneering work in Black feminist and experimental filmmaking.
images of the woman's body and home space, along with playful stop-motion sequences.
Preserved from the original 16mm bw reversal a/b rolls, the original 16mm
magnetic soundtrack and a 16mm composite print, by UCLA Film & Televi-
sion Archive's preservation department. Laboratory services by Stanford
Theatre Film Laboratory, Audio Mechanics, and DJ Audio.
Directed by: Monona Wali. Screenwriter: Monona Wali, Thomas G.
Musca. Cinematographer: Amy C. Halpern. Cast: Eve Hol oway, Haskell
V. Anderson, Lance Nichols.
From Black Panthers to Young Urban Professionals, several members of a blighted neighborhood debate the causes and experience the stresses of cycli-cal poverty, as a monolithic bank commissions a film about its own supposedly good work in the community. 16mm, b/w, 38 min.
Directed by Jamaa Fanaka
Producer: J. Fanaka. Screenwriter: J. Fanaka. Cinematographer:
Stephen Posey. Editor: Robert A. Fitzgerald. With: Jerri Hayes, Ernest
Williams II, Charles D. Brooks III, Leopoldo Mandeville, Malik Carter.
35mm, color, 100 min.
Some viewers may know this film as Black Sister's Revenge, the title under which broken romance, and her L.A. family's stumble from bourgeois status, forge a it has been distributed on video by Xenon. However, Jamaa Fanaka's original powerful sisterly bond virtual y absent from Blaxploitation fare.
title—Emma Mae—better captures its status as a sympathetic portrait of a Jacqueline Stewart
young Black woman from the South and her difficult adjustment to life in the
big city. After the death of her mother, Emma Mae (Jerri Hayes) travels by New print struck from a 35mm color reversal intermediate and the original
bus from Mississippi to Los Angeles, her rough country edges on full display. 35mm track negative
She also possesses an extraordinary ability to beat down anyone who disre-
spects her or those she loves. Emma Mae's proficiency in kicking ass echoes Preceded by:
traits found in super-mama heroines populating other character-named films
of this Blaxploitation era (e.g., Foxy Brown, Coffy, Cleopatra Jones), not surprising A DAY IN THE LIFE OF WILLIE FAUST, OR DEATH ON
given Fanaka's (successful) aspiration to distribute this student film theatrical y. THE INSTALLMENT PLAN 1972
But Emma Mae is not presented as an impossibly glamorous vixen. To the Directed by: Jamaa Fanaka (as Walt Gordon). Producer: J. Fanaka.
contrary, her plain looks and shy demeanor seem to necessitate her physical Screenwriter: J. Fanaka. Cinematographers: Gary, Glenn & Boots.
and emotional strength, particularly when dealing with those who mistakenly Editor: J. Fanaka. With: Baby Katina, Walt, Lynn, Carmen, Boots,
underestimate her. It is as if Emma Mae can tap directly into a wel spring of Snooks, Gary.
Black women's latent powers in order to protect and serve her own.
Digital video transferred from 16mm blow-up from 8mm, color, 20 min.
Emma Mae quickly fal s for Jesse, a smooth-talking ne'er-do-well who breaks Jamaa Fanaka's first project plays off the Blaxploitation's genre conventions,
her heart despite her selfless efforts to bail him out of jail, first by running a an adaption of Goethe's Faust presented with a non-synchronous soundtrack
laborious car wash under the watchful eyes of racist L.A. police, then by mak-
and superimposed over a remake of Super Fly (1972). Often out of focus with
ing a foray into bank robbery. Fanaka initial y primes us for a Cinderel a story, in an overactive camera, the film immediately exudes nervous energy, but unlike
which Emma Mae's sophisticated, col ege student cousins mock her backward Priest's elegant cocaine consumption in Super Fly, Wil ie's arm gushes blood as
ways and she's separated from her Prince Charming just minutes after they he injects heroin. A morality tale in two reels.
come together at a big dance. But Fanaka reverses the formula. Emma Mae's
mY bRoTHeR's WeddiNg 1983
Directed by Charles Burnett
Producer: C. Burnett, Gaye Shannon-Burnett. Screenwriter: C. Burnett.
Cinematographer: C. Burnett. Editor: Tom Pennick. With: Everette
Silas, Jessie Holmes, Gaye Shannon Burnett, Dennis Kemper, Ronald E. Bell.
Digital video, color, 82 min.
When we first see Pierce Mundy (Silas) in Charles Burnett's feature fol ow-up direction to turn, both literal y and metaphorical y, his decision resonates wel to Kil er of Sheep (1977) he's on the move. Making his way on a summer after-
beyond his personal history.
noon down a cracked sidewalk in South Los Angeles, he's heading to see the After a troubled production, My Brother's Wedding premiered at New Direc-
mother of his best friend about to return from prison. A voice from behind tors/New Films in 1984 in a 115-minute rough-cut version which wasn't
catches him up short: "Hey, Pierce!" In the long shot that introduces him, released theatrical y until 1991. More than a decade later, Burnett cut 30 min-
Pierce turns mid-stride, looks to the woman cal ing him and in a single fluid utes from the film for its 2007 re-release in a version that reflects his original
move, looks away, exasperated, back toward his intended destination. "Come intentions. The shorter director's cut is the version being presented in this
see my sister's baby!" Though he's tal and lean, we feel the petulant weight in series.
his every step as he retreats in the direction he's just come.
This sequence, though brief, deftly establishes the major themes of My Broth-
er's Wedding, and the power of Burnett's unadorned style. Pul ed in opposing Preceded by:
directions by loyalty to family and friends, Pierce feels suspended in place.
Recently laid off from his factory job, he marks time working at his family's dry A LITTLE OFF MARK 1986
cleaning store under the watchful eye of his mother (Holmes) and swapping Directed by: Robert Wheaton. Producer: R. Wheaton. Screenwriter:
loaded jabs with his brother's upper-middle-class fiancée (Shannon-Burnett). R. Wheaton. Cinematographer: S. Torriano Berry. Editor: R. Wheaton.
In the face of a diminished future, the return of Pierce's best friend, Soldier With: Peter Parros, Lee Daniels, Carol Porter, Robin R. Robinson, Debi
(Bel ), holds out a nostalgic escape to childhood, albeit one burdened by the Tinsley.
decimation of his generation through violence and incarceration. "Where is Digital video transferred from 16mm, b/w, 9 min.
everyone?" Soldier asks of the old crew. "It's you and me," Pierce replies.
Writer-director Robert Wheaton's story of a shy guy, Mark (Parros), trying
While the contour of Pierce's situation is familiar, Burnett fleshes it out with all the wrong moves to meet the right girl rides high on a romantic sensibility. richly observed detail. Shooting on location, Burnett doesn't simply capture Although at first it's hard to imagine the handsome Mark having trouble with locales; he reveals, through incidents and episodes both humorous and poi-
the ladies, Parros gives a charming performance as the nice guy who finishes
gnant, the network of relationships that pull and tug at the lives on screen. last. UCLA's north campus features prominently as this would-be Romeo's The revelation of character comes seamlessly bound to the revelation of com-
ever-hopeful hunting ground.
munity. When, in the film's finale, Pierce once again faces a choice of which Paul Malcolm
YouR CHiLdReN Come bACK To You ANd sHoRT FiLms
Directed by Charles Burnett
Producer: C. Burnett, Gaye Shannon-Burnett. Screenwriter: C. Burnett.
Cinematographer: C. Burnett. Editor: Tom Pennick. With: Everette
Silas, Jessie Holmes, Gaye Shannon Burnett, Dennis Kemper, Ronald E. Bell.
Digital video, color, 82 min.
is confronted with harsh discipline and racist attitudes. Jacqueline Frazier's film neatly encapsulates the unthinking, everyday racism of white institutions and
Directed by: S. Torriano Berry. Producer: S. Torriano Berry. Screen-
their trafficking in offensive racial stereotypes, paying particular attention to
writer: S. Torriano Berry. Cinematographer: Iverson White. Editor: S.
their effects on young children.
Torriano Berry. With: Steve T. Berry, Susann Akers, Haskell V. Anderson III,
Krystoffer Fields, Joey Murray.
16mm, b/w, 22 min.
On the day of his high school graduation, an African American youth battles
for self-determination as a convergence of forces, including his family and the Directed by: Gay Abel-Bey. Producer: G. Abel-Bey. Screenwriter: G.
neighborhood gang where he lives, attempt to shuttle him toward a future of Abel-Bey. Cinematographer: Steven S. Poitras. Editors: G. Abel-Bey, S.
lowered expectations. At once gritty and tender, the character study features Torriano Berry. With: Fumilayo, Leslie Rainey, Roy Fegan, Raymond Dun-
an intimate scene shot chiaroscuro on location at the Watts Towers.
more, Tony Ginn. Digital video transferred from ¾" videotape, b/w, 38 min.
When George visits his family before heading off to the Vietnam War, he is
sHiPLeY sTReeT 1981
confronted by the conflicting ideals of his veteran father, who encourages his patriotism, and his militant brother, who urges him to stay home in protest.
Directed by: Jacqueline Frazier. Producer: J. Frazier. Screenwriter:
The complex issue of whether African Americans should be fighting for justice
J. Frazier. Cinematographers: Robert Holguin, Joseph Cal away, James
at home or abroad is registered most poignantly in the youngest son Bobby, a
Babig, James Jeffery, Dan Riesenfeld. Editors: Porsche Stewart, Janice Cook,
schoolboy torn between the political al egiances of his father and older brothers.
J. Frazier. With: Leslie Smith, Don Maharry, Sandra Sprouling Jacques,
Dwana Wil is, Edith Barry.
Digital video transferred from 16mm, color, 25 min.
A construction worker, frustrated with his inability to get ahead, decides with his wife to send their daughter to an al -white Catholic school, where the girl
YouR CHiLdReN Come bACK To You 1979
Directed by: Alile Sharon Larkin. Producer: A. Sharon Larkin. Screen-
writer: A. Sharon Larkin. Cinematographer: Charles Burnett. Editors:
A. Sharon Larkin, C. Burnett. With: Angela Burnett, Patricia Bentley King,
Simi Nelson, Sabu Zawadi. Nashay Brady.
16mm, b/w, 30 min.
A single mother ekes out a living from welfare check to welfare check, strug-gling to provide for her daughter. She is faced with the decision to look after her personal y or to al ow her sister-in-law to provide "more than enough" to go around. Larkin's film masterful y presents a child's perspective on wealth and social inequality.
Samuel B. Prime
New print struck from the original 16mm b/w negative a/b rolls and the origi-
nal 16mm track negative.
PAssiNg THRougH 1977
Preservation funded in part by a grant from the Andy War-
hol Foundation for the Visual Arts and the Packard Humanities Institute.
Directed by Larry Clark
Producer: L. Clark. Screenwriters: L. Clark, Ted Lange. Cinematogra-
phers: Roderick Young, George Geddis. Editor: L. Clark. With: Nathaniel
Taylor, Clarence Muse, Pamela Jones, Johnny Weathers, Della Thomas.
16mm, color, 111 min.
Eddie Warmack, an African American jazz musician, is released from prison the Los Angeles Film Festival in 1977, subsequently won a special jury prize at for the kil ing of a white gangster. Not wil ing to play for the mobsters who the Locarno Film Festival (Switzerland) and played film festivals in Edinburgh control the music industry, including clubs and recording studios, Warmack (1978), Perth (1978) and Moscow (1979).
searches for his mentor and grandfather, the legendary jazz musician Poppa Jan-Christopher Horak
Harris. Larry Clark's film theorizes that jazz is one of the purest expressions
of African American culture, embodying the struggles of generations of Black Preserved from the original 16mm color reversal a/b rolls, and the origi-
people going back to slavery times, but now hijacked by a white culture that nal 16mm magnetic soundtrack. Laboratory services by Fotokem, Audio
brutal y exploits jazz musicians for profit. The opening seven-minute credit Mechanics, NT Picture and Sound.
sequence is accordingly an homage to jazz and jazz musicians, privileging the
raw energy of the music, while the concert footage appears virtual y abstractly Preceded by:
as a riot of blues, reds and whites. The film repeatedly returns to scenes of various musicians improvising jazz, as well as flashback scenes (in black-and-
WHEN IT RAINS 1995
white) in which Poppa teaches Warmack to play saxophone, leading a French Directed by: Charles Burnett. Producer: Chantal Bernheim. Screen-
critic to call Passing Through "the only jazz film in the history of cinema."
writer: C. Burnett. Cinematographer: C. Burnett. Editor: C. Burnett.
With: Ayuko Babu, Kenny Merritt, Charles Bracy, Soul, R. Ray Barness.
It is the Africanism of Poppa, as the spiritual center of Passing Through, that 16mm, color, 13 min.
ties together Black American jazz and the liberation movements of Africa and North America. In the early flashback sequences in sepia, Clarence Muse On New Year's Day, a man tries to help a woman pay her rent and learns a
appears in African dress and teaches saxophone under the sky. Poppa teaches lesson in connecting with others in a community. Ayuko Babu, founding direc-
Warmack that the music comes from the soil, from the earth, leading Warmack tor of the Pan African Film Festival of Los Angeles, assumes the lead role in a
to bury his saxophone to improve his playing. The film's final montage incorpo-
pleasingly empathic reading.
rates shots of African leaders with a close-up of Poppa's eye and close-ups of Black hands holding the soil, thus semantical y connecting jazz, Africa and the Shannon Kelley earth in one mystical union, and by extension justifying the liberation of the earth through violent struggle, whether in Africa or Los Angeles.
Clark completed the film while participating in the fel ows program at the American Film Institute. The film's world premiere took place at "Filmex,"
dean Teri schwartz and the uCLA school of Theater, Film and Television
warmly congratulate our cherished alumni, the filmmakers honored
in the uCLA Film & Television Archive screening series
Their leadership as humanistic storytel ers, committed to innovation and global diversity,
upholds our highest ideals and continues to inspire audiences and fel ow filmmakers worldwide.
L.A. RebeLLioN oN THe Web
In conjunction with "L.A. Rebel ion: Creating a New black Cinema," UCLA Film & Television Archive has launched a new area of its website devoted to L.A. Rebel ion filmmakers and films. This resource features a compendium of film clips, photos, timelines and reference materials, as well as the latest news and information about the Archive's L.A. Rebel ion initiative. We invite you to explore this resource at www.
The L.A. Rebel ion website project was made possible with support from the Getty Foundation and the California Council for the Hu-manities, an independent non-profit organization and a partner of the National Endowment for the Humanities. For more information, visit www.calhum.org.
THE ANDY WARHOL FOUNDATION FOR THE
Passing Through, The Pocketbook
THE FILM FOUNDATION
Water Ritual #1: An Urban Rite of Purification
NATIONAL FILM PRESERVATION FOUNDATION
Bless Their Little Hearts, The Diary of an African Nun,
I & I: An African Al egory, Water Ritual #1: An Urban
Rite of Purification
PACKARD HUMANITIES INSTITUTE
Bless Their Little Hearts, Daughters of the Dust,
UCLA FILM & TELEVISION ARCHIVE IS GRATEFUL TO THE FOLLOWING FOR THEIR SUPPORT OF "L.A. RebeLLioN: CReATiNg A NeW bLACK CiNemA"
THE STANFORD THEATRE
MILESTONE FILM & VIDEO
SERVICES PROVIDED BY:
MUSEUM OF MODERN ART
MYPHEDUH FILMS, INC.
Akintunde I. Ogunleye
YALE FILM & VIDEO
UNIVERSITY, SCHOOL OF
CINEMA ARTS, INC.
Barbara O'Keefe, Dean
PAN AFRICAN FILM
BLACK FILM CENTER /
Grayling Wil iams
FOTOKEM FILM AND VIDEO
Mato Der Avanesian
Blayze Col ins-Perucchetti
THIRD WORLD NEWSREEL
Rosel y A. Torres
Peggy E. Alexander
Susan D. Anderson
NT PICTURE AND SOUND
KINO INTERNATIONAL /
WOMEN MAKE MOVIES
MAYME A. CLAYTON
LIBRARY & MUSEUM
UCLA Film & Television Archive is pleased to recognize
our generous contributors whose support makes it
The Bijan Amin and
possible for us to preserve and make accessible our
Soraya Amin Foundation
Richard James Al en
nation's cultural heritage found in moving images. We
California Council for the
would like to thank:
Matthew H. Bernstein
Donald E. Bostrom
The Film Foundation, Inc.
Custom Film Effects
Joseph Drown Foundation
Ralph and Barbara Edwards
Cecil B. DeMil e Foundation
Ken and Carol Schultz
Don Jeremy Enright
National Film Preservation
Iranian American Heritage
Suzy Thalheimer Gluck
Foundation of Southern California
Walter E. Grauman
The Packard Humanities Institute
Silicon Val ey Community Fdn
Virginia Walker Gross
Righteous Persons Foundation
Sheena & Vijay Vaidyanathan Fnd
Hol ywood Vaults Inc.
The Myra Reinhard Family
Sony Pictures Entertainment Inc.
Ronald Terry Shedlo Estate
The Andy Warhol Foundation
for the Visual Arts
Joseph Abraham Adashek M.D.
David Judkins Mermelstein
Crew Neck Productions
The Conner Family Trust
Joseph Barry Neulight
Jewish Communal Fund
Eleanor Rimai Padnick D.D.S.
David Stenn Fund
Michael Kohn Gal ery
The Andrew J. Kuehn Foundation
NBC Universal, Inc.
Judith Reichman M.D.
Louis B. Mayer Foundation
Rohauer Collection Foundation
Richard Wayne Sakai
Rodney SauerMichael W. Schleiger
Jennifer Marie Arnold
Todd King Hol and
Marcus D. Surjopolos
Lear Family Foundation
WGBH Educational Foundation
Stephen Oliver Lesser
Michael Thomas Deitz
John Edward Matthews
Pauline Alexander Mayer
Starletta Earla Du Pois
SILVER SCREEN CIRCLE
Dhruvi Manish Acharya
David Kohlhepp Glass
Mary Pickford Foundation
Michael Charles Iracondo II
Pro-Tek Media Preservation Services
Jeffrey J. Masino Living Trust
Restaurant Productions, LLC
Jewish Federation of Metro Chicago
Richard Knox Robinson
Colman Family Fund
George Edwards Berger
Daniel Edward Kinske
Block-Heads Tent of the Sons
Stephen Neal Sauer Esq.
Deborah Nadoolman Landis Ph.D.
Schwab Fund for Charitable Giving
Carroll Parrott Blue
Linda M. Lee Fund
Lisa Joachims Brauer
The Bridges/Larson Foundation
The Silent Film Society of Chicago
Margaret Mary Mil er (**ANON**)
Robert W. Silverman
Sons of the Desert - Way Out West
State Auto Insurance Companies
Robert W. Christiansen
Sons of the Desert New York
The Clorox Company Foundation
Constel ation Productions, Inc.
The Metro Theatre Center
D. J. Audio, Inc.
Bonnie Rothbart Stark
Kathleen Wel s Webster
The Early To Bed Tent - Oasis #239
List reflects gifts made between July 2011 and
Gregory Gerard Gabriel
GE Fund Corporate Alumni Program
uCLA FiLm & TeLeVisioN ARCHiVe sTAFF
Teri Schwartz, Dean
Joe Hunsberger, Col ection Services Coordinator
Curtis Hanson, Honorary Chairman
Trisha Lendo, Col ection Services Assistant
405 Hilgard Avenue
Jan-Christopher Horak, Director
Dana Poss, Col ection Services Assistant
Todd Wiener, Motion Picture Archivist
Los Angeles, CA 90095-1323
Tel: (310) 206-8013
Syed Abedin, Information Technology Specialist
DIGITAL MEDIA LABORATORY
Fax: (310) 206-3129
David Acheronti, Facilities Administrator
Michele Geary, Digital Media Coordinator
Patricia Biggi, Director of Development
Randy Yantek, Digital Media Strategist
1015 N. Cahuenga Boulevard
Hol ywood, CA 90038-2616
Network & System Administrator
Tel: (323) 462-4921
Adam Ginsberg, Development Coordinator
Daniel e Faye, Media Licensing
Main Office Fax: (323) 469-9055
Kel y Graml, Marketing &
Research & Account Coordinator
Commercial Services Fax: (323) 461-6317
Dennis Politakis, Media Licensing
Stanford Lab Fax: (323) 467-9369
Jan-Christopher Horak, Director
Kara Molitor, Business Office Coordinator
RESEARCH AND STUDY CENTER
Mbarak Namoya, Administrative Analyst
46 Powell Library
Blaine Bartel , Senior Newsreel Preservationist
Rene Okamura, Administrative Coordinator
Los Angeles, CA 90095-1517
Jeffrey Bickel, Newsreel Preservationist
Rehan Qedwai, Chief Finance &
Tel: (310) 206-5388
Robert Gitt, Preservation Officer
Fax: (310) 206-5392
Jere Guldin, Senior Film Preservationist
Ayaz Rahman, Administrative Specialist
Ross Lipman, Senior Film Preservationist
Edward Richmond, Curator
Scott MacQueen, Head of Preservation
BILLY WILDER THEATER
Fred Sanger, Payroll & Personnel Analyst
Located at The Hammer Museum
Salik Sultan, Information Technology Assistant
10899 Wilshire Boulevard
Meg Weichman, Web Content Coordinator
Shannon Kel ey, Head of Public ProgramsPaul Malcolm, Programmer
Los Angeles, CA 90024
Nina Rao, Programming Assistant
Dan Einstein, Television Archivist
"L.A. REBELLION: CREATING A
Amos Rothbaum, Projectionist
Steven Hil , Print Loan Coordinator
NEW BLACK CINEMA" CATALOG
James Smith, Senior Studio Projectionist
Editor: Shannon Kel ey
Marla Watson, Assistant Television Archivist
Timoleon Wilkins, Theater Manager
Co-Editors: Al yson Nadia Field, Jan-Christopher
Todd Wiener, Motion Picture Archivist
Horak, Jacqueline Stewart
RESEARCH AND STUDY CENTER
Lygia Bagdanovich, Study Center Assistant
Special Thanks to: Tony Best, Michele Geary,
Luana Almares, Cataloging Assistant
Mark Quigley, Research & Study Center Manager
Paul Malcolm, Nina Rao, Samantha Sheppard
Amanda Mack, Cataloger
Thanks to: Kevin Crust, Adam Ginsburg, Kel y
Martha M. Yee, Cataloging Supervisor
THE STANFORD THEATRE FILM LABORATORY
Graml, Steven Hil , Tamara Turoff Keough, Ross
Jil ian Borders, Film Preparation Technician
Lipman, Todd Wiener
Sean Hewitt, Laboratory Manager
Joseph Bernal, Driver
Carmen Ketola, Administrative Assistant
Joseph Dolegowski, Col ection Services Assistant
Masis Markar, Film Laboratory Technician
Dan Einstein, Television Archivist
Sharol Olson, Timer
SELECTED PHOTOGRAPHS COURTESY:
Jonathan Fahn, Col ection Services Assistant
David Tucker, Optical Printer Operator
Larry Clark, Jamaa Fanaka, Robert Kapsis,
Lisa Fuguet, Col ection Services Manager
Tim Wilson, Film Preparation Technician
Milestone Film & Video, Photofest, TIFF Film
Rosa Gaiarsa, Senior Col ection Services Manager
Reference Library, Zeinabu irene Davis
Matthew Hewitt, Col ection Services AssistantSteven Hil , Print Loan Coordinator
PHOTOS: front cover: Haile Gerima's Ashes & Embers (1982); page 1: Zeinabu irene Davis' Cycles (1989); inside back cover: Bil y Woodberry's The Pocketbook (1978); back cover: Don Amis'
Ujami Uhuru Schule Community Freedom School (1974)
Fachschule für Heilerziehungspflege Ausgewählte Behinderungs - und -im Berufsfeld Heilerziehungspflege- Nur zum internem unterrichtlichen Gebrauch Erstellt von der Klasse HP 2 s Vorwort In Absprache mit der Klasse HP 2 s der Fachschule für Heilerziehungspflege und auf Anregung des Fachlehrers entstand der Wunsch, ein eigenes „Kurs-Buch" im Fach „Theorie und Praxis der Heilerziehungspflege" (TPH) zu erstellen. Diese Notwendigkeit ergab sich auch daraus, dass die Studierenden den Wunsch äußerten, ausgewählte Behinderungs - und Krankheitsbilder zu beschreiben und speziell auch die „Handlungsmöglichkeiten" der Heilerziehungspflegerin / des Heilerziehungspflegers mit ein zu beziehen. Unter Zugrundelegung des Lernfeldes 3: „Heilerziehungspflegerische Angebote klientenorientiert planen und umsetzen" heißt es weiter: „Grundlage für heilerziehungspflegerische Angebote ist stets der individuelle Hilfebedarf des Menschen mit Behinderung" 1 In Konsequenz dessen wurde auch von einer individuellen Behinderungsbefindlichkeit ausgegangen. Der große Bereich „Autismus" wurde auf Wunsch der Studierenden ausgeklammert, da dieses Thema schon ausführlich im vorausgegangenen Unterricht besprochen und diskutiert wurde. Dieses „Kurs Buch" wurde von Studierenden für Studierende erarbeitet und ist nur für interne Unterrichtszwecke gedacht. Das gleichzeitige Einüben von Textverarbeitungstechniken und das Recherchieren im Internet sowie die grafische Gestaltung standen dabei auch mit im Vordergrund. Anstelle der sonst üblichen Zitationen wurden ausnahmsweise „links" akzeptiert. Dank gilt allen Studierenden der Klasse HP 2 s, besonders aber der „Mastergruppe", bei der die diversen Themenbereiche der verschiedenen Arbeitsgruppen gesammelt und EDV-technisch aufbereitet wurden. Raimund Schleich (Fachlehrer TPH) Olsberg im November 2013 1 Vgl. Ministerium für Schule und Weiterbildung, Richtlinien und Lehrpläne zur Erprobung Fachschulen des Sozialwesens, hier: Heilerziehungspflege, Lernfeld 3, Düsseldorf 03/2008
6th Annual North Park University Undergraduate Research Symposium Tuesday, April 17, 2012 North Park University Chicago, Illinois Dr. Rachel Schmale Session 1 John-Tyler Carlson Session 2 Closing Remarks 5:20–5:25 pm Dr. Matthew Schau Following the symposium: Discussion and dinner (served at 5:45 pm) for presenters and advisors in Olssson Lounge, Seminary Building.