An exciting film series will kick off tomorrow (Friday, February 6th) at the Film Society of Lincoln Center. It's called "Tell It Like It Is: Black Independents in New York, 1968-1986" and will run until February 19th. Be sure to check it out if you're in the NYC area.
Check out the press release below for more details:
New York, NY (December 19, 2014) – The Film Society of Lincoln Center will present Tell It Like It Is: Black Independents in New York, 1968–1986, a series of 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. This program includes major works by some of the great filmmakers of this (or any) era in cinema. 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. Programmed by Michelle Materre and Film Society of Lincoln Center Programmer at Large Jake Perlin, co-presented by Creatively Speaking. Tickets will go on sale Thursday, January 15, 2015.
Dennis Lim, the Film Society of Lincoln Center’s Director of Programming said, “This is a landmark program that sheds overdue light on an incredibly rich, varied, and undertold chapter of American film history. There are many groundbreaking works here by many singular figures, and we’re proud to present this essential series here at the Film Society.”
In early 1968, William Greaves began shooting in Central Park, and the resulting film, Symbiopsychotaxiplasm: Take One, came to be considered one of the major works of American independent cinema. Later that year, following a staff strike, WNET’s newly created program, Black Journal (with Greaves as Executive Producer) was established “under black editorial control” and as home base for a new generation of filmmakers redefining documentary. (1968 also marked the production of the first Hollywood studio film directed by an African American, Gordon Park’s The Learning Tree.) Shortly thereafter, actor/playwright/screenwriter/novelist Bill Gunn directed the studio-backed Stop, which remains unreleased by Warner Bros. to this day. Gunn, rejected by the industry that had courted him, then directed the independent classic Ganja and Hess (which has been remade by Spike Lee as Da Sweet Blood of Jesus and will open in February), ushering in a new type of horror film, which Ishmael Reed called “what might be the country’s most intellectual and sophisticated horror film.”
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. Collins’s first film, The Cruz Brothers and Miss Malloy, also never released theatrically, will screen in newly remastered version created by the filmmaker’s daughter, Nina, along with a video interview with the filmmaker. Nina Collins will be on hand to present her mother’s films on opening night, February 6, along with co-producer/cinematographer Ronald Gray and Losing Ground star Seret Scott.
February 11, Madeline Anderson will present her films, including the classic I Am Somebody, her first documentary, as well as work from Black Journal. On February 13 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.
For their support and expertise, the programmers gratefully thank Pearl Bowser, Louise Greaves, Jane Fuentes, Marsha Schwam, Elena Rossi-Snook, Amy Heller, Dennis Doros and Ishmael Reed, and the filmmakers Jessie Maple, Charles Hobson, Madeline Anderson, Pat Hartley, Kent Garrett, Woodie King Jr., and Al Santana.
Thank you to Elena Rossi-Snook & Johnny Gore (New York Public Library for the Performing Arts), Nina Collins, Ronald Gray, Chiz Schultz, Anne Morra & Mary Keene (MoMA), Lisa Collins, Mark Schwartzburt, Amy Heller & Dennis Doros (Milestone Films), Shola Lynch (Schomburg Center for Research in Black Culture), Kate Manion, Devorah Heitner, Brian Graney (The Black Film Center/Archive, Indiana University), Seret Scott, Nellie Killian, Marilyn Nance, Judy Bourne, Livia Bloom (Icarus Films), Roselly A. Torres Rojas (Third World Newsreel), Kazembe Balagun (Rosa Luxemburg Shiftung NYC), Chris Hill, Rebecca Cleman, Kristen Fitzpatrick (Women Make Movies), Jane Gutteridge (National Film Board of Canada), Liz Coffey & Haden Guest (Harvard Film Archive).
For sale at the Film Society, beginning February 6, in conjunction with this series: Bill Gunn’s Rhinestone Sharecropping (a novel) and Black Picture Show (a play), published by I Reed Press, and How to Become a Union Camerawoman by Jessie Maple, published by LJ Film Productions.
You can find ticketing info here: http://www.filmlinc.com/films/series/tell-it-like-it-is-black-independents-in-new-york-1968-1986