Author Archives: BFC/A

About BFC/A

The Black Film Center/Archive at Indiana University was established in 1981 as the first archival repository dedicated to collecting, preserving, and making available historically and culturally significant films by and about black people. The BFC/A's primary objectives are to promote scholarship on black film and to serve as an open resource for scholars, researchers, students, and the general public; to encourage creative film activity by independent black filmmakers; and to undertake and support research on the history, impact, theory, and aesthetics of black film traditions.

Visiting Filmmaker Zeinabu irene Davis Kicks Off The “Black Silence” Film Series on Friday 2/20

Zeinabu irene Davis, a filmmaker and professor at UCSD, will be in Bloomington to present her 1999 feature film, Compensation, at the IU Cinema on Friday, February 20, at 6:30 PM.  This screening is free but ticketed.

Spirits-of-RebellionEarlier on Friday at 1:00 PM, Davis will be at the BFC/A in Wells Library 044 to present and discuss clips from her documentary work-in-progress, Spirits of Rebellion: Black Film at UCLA, and her 2010 documentary short, Momentum: A Conversation with Black Women on Achieving Advanced Degrees. If interested in attending the 1PM event, please RSVP to as seating is limited.

 Also during her visit, Davis will meet with students in CMCL instructor Russell Sheaffer’s class, C335: Production as Criticism: DIY Filmmaking, and with student leaders of campus diversity organizations.

compensation_front Compensation, Davis’s first feature, presents two unique African American love stories between a deaf woman and a hearing man, both set in Chicago a century apart.  Inventive use of sign language and intertitles makes the film accessible for deaf and hearing audiences.

Davis’ visit will commence the two-part series “Black Silence: Films by Zeinabu irene Davis and Charles Lane” at the IU Cinema. Decades before The Artist sparked an international silent revival, two independent features—Charles Lane’s Sidewalk Stories and Zeinabu irene Davis’ Compensation—bookended the heyday of the Black New Wave with bold formal experiments incorporating markers of silent cinema into contemporary explorations of friendship, social inequality, and Black experience. Davis and Lane’s films, which both evoke the silent era by choice, will each be paired with a short film that is silent by technological necessity.

Davis began her filmmaking career as a member of the L.A. Rebellion—the first group of African American filmmakers to graduate from UCLA’s film school. The first films made by artists in the group, known as their “Project One” films, were silent 8mm or 16mm shorts. These films made use of the limitations and possibilities of silent, small-gauge filmmaking to explore issues and everyday realities relevant to African American audiences.  Compensation will follow Daydream Therapy (1977), the “Project One” film directed by fellow L.A. Rebellion filmmaker Bernard Nicolas. Filmed in Burton Chace Park in Marina del Rey, this short film poetically envisions the fantasy life of a hotel worker whose daydreams provide an escape from workplace indignities, set to Nina Simone’s “Pirate Jenny.”


Sidewalk Stories tells the story of a modern day “tramp” and his unlikely friendship with a lost child. Lane pairs the playful, comedic charm of Chaplin with the often harrowing social realism of Lionel Rogosin to explore class relations and homelessness in late 1980s New York City. Lane remains faithful to silent cinema style, while exploring themes of race and social inequalities that were largely absent throughout the American film cannon. 220px-Natural_Born_Gambler

Lane’s film will follow early comic star Bert Williams’ A Natural Born Gambler (1916). The rare silent era film to be produced and directed by an African American will provide a point of comparison, as well as a striking point of departure to Lane’s feature. Williams’ performance reflects his vaudeville persona, which made use of stereotypes that appealed to mostly white audiences (cheating, trickery, buffoonery, and heavy minstrel dialect); at the same time, Williams’ comic gifts and leading role (both on screen and behind the camera as writer and director) made him a beloved and impressive figure during a time when African Americans were denied such recognition.

The print for A Natural Born Gambler is preserved by The Museum of Modern Art with support from The Lillian Gish Trust for Film Preservation. Thank you to the Museum of Modern Art Film Preservation Center for the generous loan of their 35mm print. Live piano accompaniment will be provided by IU Jacobs School of Music student Shawn McGowan.

postcard_backThanks to Zenabu irene Davis for the use of her personal 16mm print of Compensation as held in trust by the UCLA Film & Television Archive. The Digibeta of Daydream Therapy is also being provided by the UCLA Film & Television Archive.

Additional Details on the IU Cinema website and the BFC/A website.


Casting Natural Light: A Discussion with Spike Lee’s Cinematographer Daniel Patterson

The BFC/A blog welcomes guest contributor, Terri Francis.  Professor Francis is a scholar of cinemas in the black diaspora, particularly independent black film, Caribbean film and Afrosurrealism. She will offer her course Spike Lee’s Filmworks in the spring 2016 semester through the IU Media School. Meanwhile see her Pinterest archive for Spike Lee’s Filmworks here.

Casting Natural Light: A Discussion with Spike Lee’s Cinematographer Daniel Patterson 

Photo Courtesy of Gravitas Ventures

Courtesy of Gravitas Ventures

By Terri Francis

Daniel Patterson’s work is on television every night of the week on the Tonight Show Starring Jimmy Fallon, because he photographed the Spike Lee-directed opening sequence. But do we really see the cinematographer’s craft?

Naturally, we see the cinematographer’s work the entire time we are watching a movie but we tend to attribute the images to the director or else we look right through them.

Let’s talk with Patterson about the work that directors of photography do, how he approaches his craft, and the look that he brought to Spike Lee’s “newest hottest” Da Sweet Blood of Jesus (2014).

Courtesy of Gravitas Ventures

Courtesy of Gravitas Ventures


Terri Francis (TF): When or how did you first become aware of and fascinated by photographs? 

Daniel Patterson (DP): I grew up watching and loving movies. My first memory of being aware of the specific craft of photography, I cannot say I actually remember. It had to have been a Spike Lee joint, probably School Daze: the music, the color, the movement, choreography, and production design. I had no idea at the time, but my visual appetite and sensibility were being activated.

TF: Was there a particular moment when you become taken with cinematography? 

DP: My first film experience did it. On 25th Hour, I watched the DP and Spike make decisions. At the time, I thought Rodrigo [Prieto] was some kind of mad scientist genius. My first feature film experience made me want to demystify the process of filmmaking and cinematography, for myself, and anyone else who I could teach.

TF: For our students, what exactly is the role of the cinematographer as you see it? What do you try to bring to this role?

DP: The cinematographer helps bring the director’s vision to life using the moving image. [This includes] the choice of camera, choice of lenses, camera angles, camera movement, choreography within the frame, [and] color palette choices. We help the director visually construct what is in his or her head. Cinematographers are technicians and creative, essentially utilizing all of our knowledge and experience to make the dream a “reality.”

Courtesy of Gravitas Ventures

Courtesy of Gravitas Ventures


TF: Now that I’ve seen your work in Out in the Night, Gun Hill Road, Evolution of a Criminal, Newlyweeds and now Da Sweet Blood of Jesus, I’m really curious about how you apply your take on cinematography in your features, and how it differs from your work in documentaries: Do you approach documentary differently from fiction? What about in a doc like Evolution of a Criminal, which includes dramatized sequences as well as the interviews?  You talked about this a little bit in your Shadow and Act interview so maybe you could expand on that?

DP: I do not know what I said to Shadow and Act. What I can say now is this: Documentaries are narrative. Fictional features are narrative. Two different types of storytelling, but it is still all storytelling. In both instances I must talk with a director about visuals. How do we want each beat to feel, each scene to feel, each moment to feel? The design/visual language differs, depending on the style. I try to approach each film like, “how do we tell this story.” The reality is, in documentary, you get limited takes–generally one take. My improvisational skills are used a lot more while shooting documentary [and] I get to be production designer of sorts, as well DP, 1st AC, camera operator, media manager/downloader. A lot of the docs I’ve done have been crews ranging from 2-5 people. Everyone wears more hats while in production. In fiction, you can have an actor die as many takes as you need. All in all, similar ingredients go into telling a story, you just tend to have less time and takes, essentially making it for less equipment and crew. [Speaking] from my indie world experience. I am non-union.

TF: Would you say your cinematography is a kind of authorship, where your stamp is on the movie, or are you more facilitating the director’s vision? Or maybe the screenwriter’s or actors’? 

DP: DPs should support the vision of the director. We should also always have creative input. Both. Both should be there always. Filmmaking is like cooking. You need the right ingredients at the right temperature for the right amount of time. Each dish we prepare is different and always is subject to the desired affects. Who is our audience? What flavors do they enjoy, or what might they enjoy that they have not tasted?

TF: What’s your relationship to editors? Do you watch daily rushes or do you focus on capturing the image and taking day by day?

DP: I do not edit. I watch dailies every day on a feature film. We try to. Sometimes time does not allow. After the editor does his job, I love putting the finishing touches in the colorgrade. Colorgrading happens after the edit.

Courtesy of Gravitas Ventures

Courtesy of Gravitas Ventures


TF: Spike has worked with some terrific cinematographers like Ernest Dickerson and Arthur Jafa in close collaborations. How did you connect with Spike? How would you describe your collaboration? 

DP: My first film set was a Spike joint. I also went to NYU graduate film school, and Spike Lee is a professor there and he is artistic director for the grad film program.

I took on his plans with Da Sweet Blood Of Jesus. Spike is amazing because he knows what he wants… after we get the “necessities,” we play. His creative collaborative openness as a director, after all these exceptional filmmaking years, is awesome. I appreciate it a lot because I often work with young new directors who are no-Spike-Lee.

TF: How much did you talk about the movie before you got the job? And how did you discuss the film? How did Spike communicate what he wanted—or did he? Could you give us an idea of how that all happened?

DP: We talked a lot…a lot of conversations. Spike also told me some films to check out.

He called me late on a Friday night and asked me to DP. I said yes. I thought I was dreaming.

Courtesy of

Courtesy of Gravitas Ventures


TF: Da Sweet Blood of Jesus is more like a literary adaptation than a literal remake. How much did you as the cinematographer look at or think about Bill Gunn’s Ganja and Hess? Were there certain must-haves? Anything that inspired you? Or things that you really wanted to avoid?

DP: Sadly, I have never seen Ganja and Hess…though it is on my list of movies to watch. My professor at NYU, Charles Blackwell was a camera operator on Ganja and Hess. I like to approach films open, and truth is that time did not allow for me to watch many films before we started. We shot the film in 16 days, i.e. we did everything FAST.

TF: I’m surprised seeing Ganja and Hess wasn’t part of the process. Makes sense though! It gives you more freedom to elaborate and imagine from Spike’s script. And you can respond to the two environments where the movie is set. Am I on the right track?

DP: Seeing Ganja and Hess was 100% on the list of films the director gave me to see in pre-production. The unfortunate fact that I was unable to see it was supplemented by the freedom to imagine from the script.

TF: I noticed that the red blood isn’t that red–like a bright red, which is more naturalistic. Right? Was that a decision on your part? And if so what was the thinking there?

DP: I love naturalism. The blood not being poppy was for the reasons you stated. That was part was me. Yes I was thinking dark and naturalistic regarding the blood.

Courtesy of Gravitas Ventures

Courtesy of Gravitas Ventures

TF: How would you describe the overall color palate for the film?

DP: Color: naturalism, naturalistic. More colorful and lush on Martha’s Vineyard.

We added grain/grit to NYC. Also we made it less saturated in NYC. The opening NYC sequence was meant to be special, no grain, not so heavy with the de-saturated colors

Those decisions had to do with Dr. Hess and where he is mentally and emotionally, scene to scene, location to location, beat to beat.

TF: The image that has stayed with me is a shot of the first woman Hess picks up where she has lipstick on her teeth. I guess echoing blood. Also the character was great!

DP: Great character! That shot stays with me too.

TF: Is there anything you want to say that I didn’t ask?

DP: I just want to say that we are in the midst of exciting times in filmmaking. New and more affordable quality technology allows stories to be told by people who may not have had this opportunity without it. I look forward to the audience experiencing all the new cinematic flavors and cinematic languages that are to come. Thank you.

Da Sweet Blood of Jesus is available online via Vimeo ahead of its theatrical release on February 13, 2015. The new Spike Lee Joint revisits the late Bill Gunn’s Ganja and Hess as a literary source but it is not a shot-for-shot remake of the 1973 indie gothic film. Set on Martha’s Vineyard and in Red Hook, Brooklyn Da Sweet Blood of Jesus seems to connect with Red Hook Summer, perhaps beginning where the 2013 film ended. Planned Super 8, a format featured prominently in Red Hook Summer, did not make the cut for Da Sweet Blood of Jesus.

Some of Da Sweet Blood of Jesus’s most memorable moments emphasize naturalistic lighting and Patterson seems particularly skilled at framing intimate scenes with an improvised feel that reveal a character’s vulnerability and introspection.

Da Sweet Blood of Jesus, (re)introduces a cast of rare middle-class black diaspora characters into contemporary American cinema while exploring various addictions including lust, lies, greed, social status, and religious belief.

Courtesy of

Courtesy of Gravitas Ventures

Through Lee’s Kickstarter campaign to fund Da Sweet Blood of Jesus he not only brought the public into the filmmaking process, but he also opened up the usually hidden inner-workings of how movies get made and get seen. If Spike Lee, award-winning director of over 30 groundbreaking films in multiple genres, has to crowdfund then what is going on in Hollywood? In this film and in its paratextual materials, Lee elevates entertainment media to platforms of critical discussion about film and culture.

Patterson says he enjoys the collaborative process between a director and a cinematographer as he works to adapt and learn how to work with that particular director. A visual craftsman, he is drawn to a story by the narrative: “I read the script and if I feel the story, if it’s something I’m interested in seeing I say let’s talk. I talk to the director about his or her vision and we can take it from there.” See Patterson’s interview in Studio A, a film colloquium at George Mason University here.

Patterson and his NYU peers have cultivated their network through continuing to collaborate after graduation. Filmmaker and former classmate Darius Clark Monroe (who visited IU Cinema in fall 2014) said of Patterson, “I’ve had the great pleasure of collaborating with DP on 5 projects (Shorts: Testify, Midway, Train, and Dirt; Feature: Evolution of a Criminal), spanning the last decade. Beyond his technical expertise, and this may sound strange, but I love the fact that Daniel is a great observer of human behavior and the human condition. He’s a people watcher and a great listener. Daniel has traveled all over the world, observing, shooting and processing the phenomenon that is this universe and the miracle that we call life. His spirit and perspective are invaluable to our creative process.” Patterson and Monroe’s next collaboration is a feature called Year of our Lord – about a Brooklyn couple whose son may or may not be the second coming of Christ. Train and Evolution of a Criminal feature naturalistic lighting and a willingness to explore moral ambiguity and human frailty.

Tech Specs for Da Sweet Blood of Jesus

Camera: SonyF55 using Sony lenses.

Lighting: HMIs KinoFlos, various tungsten units, and sometimes 0% film lights.

Color Grading: Postproduction at Nice Dissolve

Features Filmography for Daniel Patterson

Da Sweet Blood of Jesus, Spike Lee, 2014

Evolution of a Criminal, directed by Darius Clark Monroe, 2014

Out in the Night, directed by Blair Dorosh-Walther, 2014

Newlyweeds, directed by Shaka King, 2013

Gun Hill Road, directed by Rashaad Ernesto Green, 2011

Films by Pioneering Filmmaker Jessie Maple to Screen at MoMA and Lincoln Center This Month

In 1975, Jessie Maple won her hard fought battle to become the first African American woman to become a member of the union of International Photographers of Motion Picture & Television (IATSE) in New York.  Following several years of producing short documentaries with her husband Leroy Patton for their company LJ Film Productions, Maple directed her first narrative feature Will in 1981. The groundbreaking work will screen in New York twice this month during two innovative programming series at the Museum of Modern Art (MoMA) and Lincoln Center.  The 16mm print screening at both venues is courtesy of the Black Film Center/ Archive, where the film was recently preserved with support from NYWIFT’s Women’s Film Preservation Fund. Maple’s second feature, Twice as Nice (1989), will also screen during the Lincoln Center Program.


On February 3rd, MoMA will present Maple’s first feature about a former athlete who recovers from drug addiction with the help of a homeless boy. Shot on location, Will depicts early 1980s street-life in Harlem in all of its complexity, but without sensationalizing its people and places.  Will won an award at the Athens International Film Festival and was used as an educational film at many New York drug rehabilitation centers.

Will screens in the “New York, NY” program alongside Shirley Clarke’s Bridges-Go-Round (1958) and Elaine Summers’ Windows in the Kitchen (1977) as part of the series “Carte Blanche: Women’s Film Preservation Fund: Women Writing the Language of Cinema” that runs from Feb. 2-15, 2015. In 1995, New York Women in Film and Television (NYWIFT) and The Museum of Modern Art established the Women’s Film Preservation Fund (WFPF) in order to preserve the cultural legacy of women in the film industry. In celebration of the program’s 20th anniversary, MoMA has invited the WFPF programming committee to select films that reflect the role of women in the development of cinema as art. Other screenings of note include Spencer Williams’ Dirtie Girtie from Harlem U.S.A. (1946), featuring Harlem dancer Francine Everett, which is programmed with Julie Dash’s recently preserved 1982 feature, Illusions.

On Monday, February 16th, the Film Society of Lincoln Center will present “An Evening with Jessie Maple,” featuring a screening of both of Maple’s feature films and a Q&A with the filmmaker, as part of their phenomenal February series,“Tell it Like it Is: Black Independents in New York, 1968-1986″.

From the Film Society of Lincoln Center Press Release: “The series will feature key films, starting with William Greaves’s seminal  Symbiopsychotaxiplasm: Take One and culminating with Spike Lee’s first feature, the independently produced She’s Gotta Have It which launched a new era of studio filmmaking by black directors. During this time, activist New York–based black independent filmmakers created an exciting body of work despite lack of support and frequent suppression of minority film production. Women filmmakers play a prominent role throughout the series, starting with the exclusive one-week theatrical premiere of Losing Ground, directed by the late Kathleen Collins, one of the first feature films written and directed by a black woman. Madeline Anderson will present her films, including the classic I Am Somebody, her first documentary, as well as work from Black Journal. Filmmakers Christine Choy, Susan Robeson, and Camille Billops will discuss their work screened in the Women’s Work Program, a selection of films bringing to light the remarkable contributions of female storytellers and their image-making prowess. Trailblazer Jessie Maple, will be in attendance on February 16 to present her films Will and Twice As Nice.”

Jessie Maple screening times:

Museum of Modern Art
Tuesday, February 3rd, 4:00 PM
Will (Maple, 1981) Full Details here.

Film Society of Lincoln Center
Monday, February 16th, 6:30 PM
“An Evening with Jessie Maple” featuring a Q&A following a screening of Will. Full Details here.

Film Society of Lincoln Center
Monday, February 16th, 8:45 PM
Twice as Nice (Maple, 1989) Introduction by Jessie Maple. Full Details here.  

Both screenings of Will to be presented on 16mm, courtesy of the Black Film Center/ Archive’s Jessie Maple Collection. For more on Jessie Maple, check out our 2012 “Into the Archive” spotlight post on the Maple collection: Exploring the Jessie Maple Collection

Read “Shadow and Act’s” 2013 review of Will following its restoration here.

New DVDs at the BFC/A: Spotlight on Amma Asante’s “Belle”

In a scene from Amma Asante’s stunning period drama Belle (2013), based on true events, the young daughter of an enslaved woman from the West Indies and a British naval officer studies the portrait gallery in her opulent new English home. One painting in particular, featuring an aristocratic male in powdered wig and pastel silk suit, captures her attention. But it is not the man at the center of the portrait who captivates the girl; it is the black male youth, an attendant, at his heel. The youth’s status is clear from the way he is depicted in relation to the aristocrat—he is diminutive, positioned on his knee beneath his master, and casting his eyes graciously towards him. Within the context of the painting, he is merely an accessory, of no importance except to highlight the prominence of the man he serves. But Asante repositions the youth, placing him in the center of the camera’s frame with the nondescript aristocrat shown in partial view to his side. The vantage point is that of the title character, Dido Belle Lindsay. Although her father has not only given her his name, but a place in his family home, and ultimately his fortune, Dido is reminded by the black servant in the portrait of her own precarious position within the family and more generally, within 18th century British Society.

zoffanyLady Elizabeth Murray and Dido Belle, attributed to Johann Zoffany, 1779

Portraiture functions as a framing device and a metaphor in Asante’s film. Years later, Dido—Gugu Mbatha-Raw (Beyond the Lights) in her feature debut—hesitantly agrees to be painted with her cousin Elizabeth (Sara Gadon). She returns to the portrait of the aristocrat and servant, wondering how she will appear in the finished piece—as her white cousin’s handmaid, or as her equal?  The painting revealed in the film is the same as the painting of the real life Dido and her cousin Elizabeth, which has captivated audiences and art historians because of the near equal prominence given to both women, and the warmth between them. Dido is positioned only slightly to the side of her cousin, who reaches out, rather than down to her. Though Dido takes up less canvas space than Elizabeth, her charming smile, white silken gown, and unusual head wrap capture the viewer’s gaze. In the film, Dido and Elizabeth are also presented as equals, though Mbatha-Raw is always slightly more central, more in focus, or more vibrantly dressed than Gadon. The symbolic connection between Dido and the boy in the painting serves as a reminder that the stories of people of color have been subjugated for centuries. However, Asante’s visual cues subtly inform the viewer that it is time for the marginalized figures of Western art, history, and society to move into the foreground.

  Belle-1-Gugu-Mbatha-RawbelleBelle - 2013


Belle offers a compelling look at the intersections of class, race, and gender in 18th century Britain. Dido recognizes her privileged position, noting that wealth has “freed” her twice—from the economic conditions of servitude and from the necessity of marrying solely to be kept as a man’s property. But appreciating these advantages does not mean that she must keep her head down and be grateful for narrowly escaping “her lot” as a dark-skinned woman; instead, Dido uses her unique position to bring about change in a society that legally sanctions inhuman practices. Dido’s caretaker is the influential British barrister Lord Mansfield (Tom Wilkinson), who Dido learns is presiding over an insurance claim involving a slave ship. The case is an investigation of the Zong Massacre of 1781, when an estimated 142 slaves were drowned by the ship’s crew who alleged that due to a lack of drinking water, they were forced to throw the slaves overboard so that the rest of the “human cargo” and crew could survive. Alternately, the insurers claimed that the traffickers were intentionally ridding the ship of diseased slaves to collect on their “lost goods.”

The treatment of the case at the heart of Belle is profound not only for its recollection of the barbarous event onscreen, but for the lens through which it is told. The more expected Hollywood version would focus on Lord Mansfield as he worked through internal conflicts and external pressures to ultimately buck the system. This wouldn’t be an untrue story, as Lord Mansfield’s landmark decisions were both courageous and historically significant, but it would be a narrative that we’ve seen and heard many times. Asante gives us something new and necessary. As Ava DuVernay has done more recently with Selma, Belle offers the rare onscreen historical event from a black perspective (both films, coincidentally, feature Tom Wilkinson playing a complex political ally, rather than a simplistic hero). These stories are not about the great forgotten black figures behind the white men who accomplish great feats; they are about the activism and the interventions of people of color who challenge the convictions and long-held beliefs of white individuals and white society.


Belle is one of several notable additions to the BFC/A’s DVD collection made by black female filmmakers in the past few years. Other recent acquisitions include Ava DuVernay’s Middle of Nowhere (2012), which earned her the Best Director Award at Sundance, and the HBO documentary Whoopi Goldberg Presents Moms Mabley. Goldberg’s directorial debut recovers the legacy of the groundbreaking comic through highlights from her long, illustrious career and interviews with the many contemporary comics whom she inspired. Very little is known about Jackie “Moms” Mabley’s personal life before her arrival on the black vaudeville scene, also known as the “chitlin’ circuit.” Goldberg tells viewers early in the film that “Doing the history of Moms Mabley, it’s the history of black folks in America– it’s not there.” Nevertheless, through Mom’s recordings and television appearances, Goldberg presents a fascinating portrait of a woman who disguised herself as dopey and unassuming to make people laugh, while delivering a cutting social commentary about contemporary American life.
Like Amma Asante’s fictionalized account of Dido Belle, Whoopi Goldberg’s documentary portrait of Jackie “Moms” Mabley provides further evidence that diversity in filmmaking means fresh perspectives, new stories, and forgotten histories remembered. [For more Moms Mabley, see the 1974 Stan Lathan film, Amazing Grace—reissued yesterday on Blu-Ray by Olive Films. Ed.]
~Noelle Griffis

Free from IU Press: “Conversations with Ava DuVernay”

The Fall 2014 Black Camera special feature on SELMA director Ava DuVernay is now available for free download at JSTOR, courtesy of the Indiana University Press: link

DuVernay and Martin

Ava DuVernay with BFC/A director Michael T. Martin, September 2013

“Conversations with Ava DuVernay – ‘A Call to Action': Organizing Principles of an Activist Cinematic Practice” is drawn from discussions between DuVernay and Black Film Center/Archive director Michael T. Martin during the filmmaker’s 2013 visit to the BFC/A and IU Cinema.

An excerpt:

MTM:You’re… an African American woman, in an industry dominated by men—primarily white men. How do you navigate this terrain?

AV: There was a time when I was knocking on doors and concerned with being recognized in dominant culture. I’ve found a space where the terrain is different, where I’m embraced by people like me, and where I’m building new ways of doing things, as opposed to trying to insert myself in a place that might not be welcoming. So, I’m concerned with my own house. If people want to visit from other houses, that’s great. It was something about turning my back on those desires and concentrating on what was in front of me and what was really beautiful, and organic within my own community and culture that started to ignite interest from the outside in.

MTM:Any stories to tell when you knocked on those doors?

AV: I can tell you on what doors not to knock. I was a publicist for many years. I had an agency—the DuVernay Agency—specializing in marketing, publicity, studio product, TV, film. I would find myself sitting in rooms listening to all kinds of bizarre things about what black people do, and who we are, and how to reach us. I’d be like, “Wow, this is crazy.” When I started, I was very clear that either my films were going to end up with people in a room like that, or they would not be let into those rooms at all. Either way wasn’t good. So, I had to figure out, even before making them, what would be the fate of my films. And that’s what got me looking, as a black woman, to our own community. I started filmmaking from that place. I never took my films, reels under my arm, knocking on unwelcoming doors. And it was only because I had the knowledge of a publicist that I knew what that place was like. And that’s a unique experience because most new filmmakers have never been in those rooms listening to those conversations. So, there’s a sense of hope that your films are going to transcend preconceived notions of black people, or women, or what this film’s going to be, or should be. And having been in those rooms, I said “I’m not going to go that route, I’m going to carve out another place”.

Full interview available here:





Chicago’s Black Cinema House to screen films by Alile Sharon Larkin & Julie Dash this Friday, Jan. 16

Black Cinema House will screen Alile Sharon Larkin’s 1979 short film Your Children Come Back to You (16mm print courtesy of the Black Film Center/ Archive), followed by Julie Dash’s recently remastered Illusions (1982) this Friday, January 16, 7PM.

YourChildren Still from Larkin’s Your Children Come Back to You

Both Larkin and Dash earned their MFA from UCLA’s School of Theater Film and Television (in 1982 and 1985 respectively), joining the first generation of Black filmmakers to graduate from the program, now collectively known as the L.A. Rebellion. The school’s “ethno communication” program was designed to be responsive to communities of color by providing access and training in media production. The remarkable roster of alumnae includes– in addition to Dash and Larkin– Haile Gerima, Zeinabu irene Davis, Larry Clark, and Charles Burnett.

Your Children Come Back to You presents a young girl’s perspective on social inequality as she is torn between her militant single mother, who struggles to make ends meet with welfare checks, and her assimilationist aunt, who wishes to provide bourgeois comforts for the girl. Larkin wrote, directed, and produced the striking, yet spare mediation, and Charles Burnett lent his visual skills as the film’s cinematographer and co-editor.

Julie Dash made Illusions just prior to her seminal feature, Daughters of the Dust. From the Women Make Movies Catalog: “Mignon Duprée, a Black woman studio executive who appears to be white and Ester Jeeter, an African American woman who is the singing voice for a white Hollywood star are forced to come to grips with a society that perpetuates false images as status quo.” Read more about the film and its recent digital remastering on Indiewire’s Shadow and Act blog.
Illusions Directed by Julie Dash (1982, 34 mins, 16mm/DVD)
Your Children Come Back to You (1979, 27 mins, 16mm)
Friday, January 16 | 7pm | Black Cinema House | 7200 S. Kimbark

Note on the BFC/A 16mm print of Your Children Come Back to You: In 2011 and 2012, BFC/A collaborated with UCLA to preserve two films by Alile Sharon Larkin through the LA Rebellion initiative.  BFC/A provided access to 16mm original picture negative A/B rolls and soundtrack negative for Your Children Come Back to You; and to 16mm original color reversal A/B rolls and full-coat magnetic track elements for A Different Image.  UCLA Senior Preservationist Ross Lipman and Fotokem Laboratory in Los Angeles produced a 16mm composite fine-grain master positive and two new 16mm projection prints for Children; and a 16mm color internegative, a soundtrack negative, and two new 16mm projection prints for Image.  One set of these newly-struck preservation prints was screened as part the LA Rebellion touring program and is held for research at UCLA Film and Television Archive; the second set is held at BFC/A.

Note from Black Cinema House: This screening is presented in conjunction with BCH Advisory Committee Chair Jacqueline Stewart’s University of Chicago class titled “African American Cinema Since 1970.” Doors open at 6:30pm. Seating is limited, so we ask that attendees RSVP in advance. Event Webpage



BLACK CAMERA Vol. 6, No. 1 Now Available

The latest issue of Black Camera: An International Film Journal is now available in print and online from the Indiana University Press.  The issue includes an extensive special feature, “Ava DuVernay in conversation with Michael T. Martin — ‘A Call to Action': Organizing Principles of an Activist Cinematic Practice,” drawn from discussions held during DuVernay’s 2013 visit to the Black Film Center/Archive and IU Cinema.

The current issue also features a Close-up on Postcolonial Filmmaking in French-speaking Countries from guest editor Delphine Letort, including articles by Benjamin Stora, Isabelle Vandershelden, Forence Martin, Tsitsi Jaji, Jeanne Garane, and Delphine Letort.

Also in this issue:

  • Marilyn Yaquinto on Cinema as Political Activism: Contemporary Meanings in The Spook Who Sat by the Door;
  • Amy Corbin  on Charles Burnett’s Dialogic Aesthetics: My Brother’s Wedding as a Bridge between Killer of Sheep and To Sleep With Anger;
  • Close-up Gallery on Women on the Algerian Art Scene, curated by Delphine Letort and Emmanuelle Cherel;
  • And including Africultures Dossier, Book Reviews, Archival News, and Professional Notes and Research Resources.

For more information about Black Camera, please visit  To subscribe, visit



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