BAM Presents Race, Sex & Cinema: the World of Marlon Riggs, Feb 6

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Marlon Riggs, photo courtesy California Newsreel BAM presents Race, Sex & Cinema: The World of Marlon Riggs, Feb 6—14, 2019 A celebration of the essential queer filmmaker, his influences, and his inspirations December 13, 2018/Brooklyn, NY—From Wednesday, February 6 through Thursday, February 14 BAM presents Race, Sex & Cinema: The World of Marlon Riggs. Riggs (1957-1994) was an American filmmaker, professor, poet, and gay rights activist, who wrote, produced, and directed provocative, formally innovative meditations on representations of race, gender, and sexual identity in American culture. Organized by BAM's senior repertory and specialty film programmer Ashley Clark in collaboration with documentary filmmaker and longtime Riggs collaborator Vivian Kleiman, the series marks the 25th anniversary of Riggs’ death from AIDS-related complications, and the 30th anniversary of the premiere of his landmark work, Tongues Untied, a poetic reflection on the experiences of black, gay men in America. Race, Sex & Film will feature a full retrospective of Riggs’ films, including his documentaries Tongues Untied, Ethnic Notions, Color Adjustment, and Black Is… Black Ain’t; work by his contemporaries and influences; and the films of artists influenced by Riggs himself. This series at BAM is the launchpad for an international celebration of Riggs' work in 2019, with screenings of Tongues Untied at venues including San Francisco's Roxie Theater, the African American Museum in Philadelphia, KASHISH Mumbai International Queer Film Festival, Yale Film Study Center, Ankara’s PINK Life QueerFest, and more. In the fall of 2019, the UC Berkeley Art Museum and Pacific Film Archive will present Tongues Untied, alongside a retrospective of Riggs’ video work. Series programmer Ashley Clark and program advisor Vivian Kleiman will be available for interviews; please contact Shelley Farmer with requests. Full titles and guests will be announced January 2019. For further press information, please contact: Shelley Farmer at 718.724.8023 / [email protected] Brooklyn Academy of Music 718.724.8023 (phone) BAM Film Publicity Peter Jay Sharp Building [email protected] Shelley Farmer 30 Lafayette Ave. Brooklyn, NY 11217-1486 BAM.org .

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Marlon Riggs Papers, 1957-1994 M1759
http://oac.cdlib.org/findaid/ark:/13030/kt8v19s4ch No online items Marlon Riggs Papers, 1957-1994 M1759 Finding aid prepared by Lydia Pappas Department of Special Collections and University Archives Green Library 557 Escondido Mall Stanford, California, 94305-6064 [email protected] 2011-12-05 Marlon Riggs Papers, 1957-1994 M1759 1 M1759 Title: Marlon Riggs Papers Identifier/Call Number: M1759 Contributing Institution: Department of Special Collections and University Archives Language of Material: English Physical Description: 112.0 Linear feet(37 manuscript boxes, 5 half-boxes, 3 card boxes, 34 flat boxes, 28 cartons, 1 oversize box) Date (inclusive): 1957-1994 Abstract: This collection documents the life and career of the documentary director, Marlon Troy Riggs, 1957-1994. The majority of the materials in the Collection are from the period between 1984 and Riggs' death in 1994, the decade of his concentrated film-making activity, as well as some more personal materials from the late 1970s onwards. The papers include correspondence, manuscripts, subject files, teaching files, project files, research, photographs, audiovisual materials, personal and biographical materials created and compiled by Riggs. General Physical Description note: Audio/Visual material housed in 90 cartons containing: 16 Film reels, 149 VHS videotapes, 437 Umatic videotapes, 602 Betacam videotapes, 50 Digibeta videotapes, I Betamax videotape, 1 D8 tape, 6 micro cassette tapes, 2 DARS tapes, 14 Hi-8 tapes, 10 DAT tapes, 8 reels 2inch video, 27 reels 1inch video, 49 DVDs, 108 audio cassettes, 48 audio reels, 2 compact discs; Computer Media: 1 floppy disc 8inch, 171 floppy discs 5.25inch, 190 3.5-inch floppy discs, and papers housed in 77 boxes, 62 flat boxes, and 11 half boxes.
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Marlon Riggs Papers, 1957-1994 M1759
http://oac.cdlib.org/findaid/ark:/13030/kt8v19s4ch No online items Marlon Riggs Papers, 1957-1994 M1759 Finding aid prepared by Lydia Pappas Dept. of Special Collections & University Archives Stanford University Libraries. 557 Escondido Mall Stanford, California, 94305 Repository email: [email protected] 2011-12-05 Marlon Riggs Papers, 1957-1994 M1759 M1759 1 Title: Marlon Riggs Papers Identifier/Call Number: M1759 Contributing Institution: Dept. of Special Collections & University Archives Language of Material: English Physical Description: 112.0 Linear feet(37 manuscript boxes, 5 half-boxes, 3 card boxes, 34 flat boxes, 28 cartons, 1 oversize box) Date: 1957-1994 Abstract: This collection documents the life and career of the documentary director, Marlon Troy Riggs, 1957-1994. The majority of the materials in the Collection are from the period between 1984 and Riggs' death in 1994, the decade of his concentrated film-making activity, as well as some more personal materials from the late 1970s onwards. The papers include correspondence, manuscripts, subject files, teaching files, project files, research, photographs, audiovisual materials, personal and biographical materials created and compiled by Riggs. General Physical Description note: Audio/Visual material housed in 90 cartons containing: 16 Film reels, 149 VHS videotapes, 437 Umatic videotapes, 602 Betacam videotapes, 50 Digibeta videotapes, I Betamax videotape, 1 D8 tape, 6 micro cassette tapes, 2 DARS tapes, 14 Hi-8 tapes, 10 DAT tapes, 8 reels 2inch video, 27 reels 1inch video, 49 DVDs, 108 audio cassettes, 48 audio reels, 2 compact discs; Computer Media: 1 floppy disc 8inch, 171 floppy discs 5.25inch, 190 3.5-inch floppy discs, and papers housed in 77 boxes, 62 flat boxes, and 11 half boxes.
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African American Perspectives
AFRICAN AMERICAN PERSPECTIVES photo: Alex Rivera CALIFORNIA NEWSREEL Forty Films on 40th Anniversary Year 1968-2008 Race in America ZORA NEALE HURSTON: JUMP AT THE SUN Zora Neale Hurston, path-breaking novelist, pioneering anthropologist and first Producer/Writer: Kristy Andersen Director: Sam Pollard black woman to enter the American literary canon, established the African American 84 minutes, 2008, A co-production of Bay Bottom News and vernacular as one of the most vital, inventive voices in American literature. American Masters Major funding provided by the National This definitive film biography, eighteen years in the making, portrays Zora in all Endowment for the Arts, the National Endowment for the Humanities, the Corporation for Public her complexity – gifted, flamboyant, controversial but always fiercely original. Broadcasting, the Ford Foundation, the Southern Humanities Media Fund, the Maryland Humanities Council, the Florida Division of Cultural Affairs and the National Black Programming Consortium. photo: Carl Van Vechten, Library of Congress Zora Neale Hurston: Jump at the Sun “niggerati,” a term Zora coined. She became Her ethnographic research lay the Richard Wright’s seminal novel Native Son. A turning point in Zora’s life came when she “(Finally)a high-quality documentary to intersperses insights from leading scholars a close friend and collaborator of Langston groundwork for the books and plays which But Zora’s work is notably absent of white was falsely accused of molesting two pre- demonstrate the complex and important life and rare footage of the rural South (some of Hughes, a Mid-westerner who found in Zora secured her place as an essential voice in characters; she refused to write “protest adolescent African American boys.
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Tongues Untied Lets Loose Angry, Loving Words the Degree of Sexual Attraction
An Interview with Marlon Riggs Tongues Untied Lets Loose Angry, Loving Words the degree of sexual attraction. I put by Robert Anbian all those kinds of people out of my mind and made it specifically for Berkeley documentarian Marlon Riggs is people who are already engaged best knownfor his 1987 Ethnic Notions, a sympathetically by the subject of the scholarly and sobering examination of 100 black gay experience. At the AFI years of interplay between racist tensions Video Festival the audience was in the U.s. and the images ofblacks in totally the opposite of any I'd ever popular culture. An eventual critical and conceived for this ... in fact I looked at audience success, Ethnic Notions nonetheless faced much initial resistance. the audience at API that night, I said, Despite as scholarship and carefully "Well, I should look at this strategi measured tone, the video's expose of cal/y. This is just so it will be able to racism in American culture discomfited be shown at other film festivals .... " I many, not least of all black and white was preparing myself not to be upset liberals, who may have privately approved that people wouldn't understand, or the piece but who were reluctant to be they would sit there mutely as they publically associated with its painful saw this panoply of drag queens and images. While in lhe process ofproducing black gay men and erotic scenes and the sequel. Color Adjustment: Blacks in angry poetry and it would all go by Prime Time. Riggs look. the time 10 create another work thai comes withoUlthe them, and they'd wonder what the hell varnish oftraditional documenJary was that.
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GAYS and FILM: GET REEL June 17 - July 12, 1994
The Museum of Modern Art For Immediate Release May 1994 GAYS AND FILM: GET REEL June 17 - July 12, 1994 The first international survey devoted exclusively to gay documentaries and non-narrative film and video opens at The Museum of Modern Art on June 17, 1994. GAYS AND FILM: GET REEL follows the development of the gay documentary and is designed to facilitate an understanding of the movement's history of the past thirty years. On view through July 12, the exhibition is presented on the occasion of the citywide celebration of the twenty-fifth anniversary of the Stonewall Rebellion, which launched the Gay Liberation Movement. The twenty-four part exhibition comprises works drawn from the independent film and video community, featuring work from the highly experimental 1960s, the more traditional 1970s and 1980s, and the new generation of directors working today. The forty-six works in the series, either by gay artists or with gay-related content, explore social and political issues which engage the lesbian and gay community, such as AIDS, anti-gay violence, human rights, history, and lesbian concerns. A number of films and videos in the series examine two divergent styles within the gay documentary field -- experimental and traditional. Early experimental documentaries include the opening film of the series, Portrait of Jason (1967, Shirley Clarke), a study of a black gay man filmed in one night at the Chelsea Hotel, which also addresses the process of filmmaking itself; Blow Job (1964, Andy Warhol), filmed in real time, shows a young man's facial - more - 11 West 53 Street, New York, N.Y.
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NEW AGENDAS in BLACK FILMMAKING: an INTERVIEW with MARLON RIGGS Grundmann, Roy
NEW AGENDAS IN BLACK FILMMAKING: AN INTERVIEW WITH MARLON RIGGS Grundmann, Roy. Cineaste, Dec92, Vol. 19 Issue 2/3. In his relatively short career, Marlon T. Riggs has already made an indelible mark on the documentary tradition and the state of black filmmaking in general. The self-reflexive esthetics of his videos have opened critical trenches and fueled debates on issues of authenticity, impartiality, and truth. Even such relatively straightforward works as Ethnic Notions (1987) never forgo or hide their partisan perspective, which is precisely Riggs's point. His films are politically significant because they have helped redefine agendas of black filmmaking. Riggs is not only black, he is also gay, and as a cultural observer his vision is fused to diverse aspects of black gay life. Tongues Untied (1990) is a passionate exploration of the double oppression black gay men face in our society (see review in Cineaste, Vol. XVIII, No. 1), attacking both white racism and a certain machismo conspicuously coextensive with parts of the African-American movement As much as black gay men's ethnicity makes them subject to racist oppression, their sexuality is used to deny them a share in their African ancestry. As one might expect, the right wing's response to Tongues Untied was not slow in coming, and it bore out its own racism twice over. When Riggs, by addressing issues of homophobia, sought to reformulate received notions of ethnic struggle, Senator Jesse Helms, presidential aspirant Pat Buchanan, and their ideological cohorts promptly turned their attacks against the video into an exclusively antigay, procensorship invective.
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Rhea's Dissertation
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ Rhea L. Combs Date Exceeding the Frame: Documentary Filmmaker Marlon T. Riggs as Cultural Agitator By Rhea L. Combs Doctor of Philosophy Graduate Institute of the Liberal Arts ______________________________________________________ Matthew H. Bernstein, Ph.D. Advisor ______________________________________________________ Rudolph P. Byrd, Ph.D. Committee Member ______________________________________________________ Beverly Guy-Sheftall, Ph.D. Committee Member Accepted: ______________________________________________________ Lisa A. Tedesco, Ph.D. Dean of the Graduate School ___________________ Date Exceeding the Frame: Documentary Filmmaker Marlon T. Riggs as Cultural Agitator By Rhea L. Combs M.A., Cornell University, 1994 Advisor: Matthew H. Bernstein, Ph.D. An abstract of A dissertation submitted to the Faculty of the Graduate School of Emory University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Graduate Institute of the Liberal Arts 2009 Abstract Exceeding the Frame: Documentary Filmmaker Marlon T.
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BAM Presents Race, Sex & Cinema: the World of Marlon Riggs, Feb 6
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THE POWER AND POTENTIAL OF PERFORMATIVE DOCUMENTARY FILM by John Arthur Little A thesis essay submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Science and Natural History Filmmaking MONTANA STATE UNIVERSITY Bozeman, Montana April 2007 ©COPYRIGHT by John Arthur Little 2007 All Rights Reserved ii APPROVAL of a thesis essay submitted by John Arthur Little This thesis essay has been read by each member of the thesis committee and has been found to be satisfactory regarding content, English usage, format, citations, bibliographic style, and consistency, and is ready for submission to the Division of Graduate Education. Ronald Tobias Approved for the Department of Media and Theatre Arts Dr. Walter Metz Approved for the Division of Graduate Education Dr. Carl A. Fox iii STATEMENT OF PERMISSION TO USE In presenting this thesis essay in partial fulfillment of the requirements for a master’s degree at Montana State University, I agree that the Library shall make it available to borrowers under rules of the Library. If I have indicated my intention to copyright this thesis (paper) by including a copyright notice page, copying is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of this thesis (paper) in whole or in parts may be granted only by the copyright holder. John Arthur Little April 2007 iv TABLE OF CONTENTS ABSTRACT........................................................................................................................v
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