CSRC RESEARCH REPORT

NO. 5 • JANUARY 2005

AN OCCASIONAL SERIES AVAILABLE IN ELECTRONIC FORMAT

MINORITY FILMMAKERS, MEDIA INSTITUTIONS,AND PRESS DISCOURSE: A COMPARATIVE ANALYSIS

HYE SEUNG CHUNG AND JUN OKADA, WITH ASSISTANCE BY MAJA MANOJLOVIC UCLA CHICANO STUDIES RESEARCH CENTER

Film scholarship has a bias toward studying mainstream movies, especially Hollywood film, and ignoring minority participation. By analyzing five film magazines, this study collates press coverage of the last quarter- century of African American, Asian American, Latino/Chicano, and Native American participation in other mediums, including avant-garde film, video art, documentary, short narrative, and public affairs television. Findings were that despite clear efforts to represent minority cinema, there was a significant lack of reporting on Latino/Chicano and Native American cinema. A comprehensive bibliography is provided.

FOR MORE INFORMATION, CONTACT: UCLA Chicano Studies Research Center • 193 Haines Hall • Los Angeles, CA 90095-1544 Phone: 310-825-2642 • Fax: 310-206-1784 • E-Mail: [email protected] The center’s books and journals are sold at www.chicano.ucla.edu Editor: Chon A. Noriega • Publications Coordinator: Wendy Belcher This series is a project of the CSRC Latino Research Program, which receives funding from the University of California Committee on Latino Research.

MISSION STATEMENT The UCLA Chicano Studies Research Center supports interdisciplinary, collaborative, and policy-oriented research on issues critical to the Chicano community. The center’s press disseminates books, working papers, and the peer-reviewed Aztlán: A Journal of Chicano Studies. CSRC RESEARCH REPORT DECEMBER 2004

his report emerges out of the the Prize, Chicano! and Images of Indians, of minority cinema in both trade and but also hundreds of avant-garde and commercial periodicals illuminates CSRC Race and Independent experimental works in Super-8, 16mm, the formation of distinct independent Media Project, a collaborative and video; minority cinemas, with commercial —the underpinnings of indepen- periodicals emphasizing commercially Teffort started in 2001 that involves dence, including funding, rights, access, successful directors and trade peri- scholars and graduate students from contracts, and distributors. odicals emphasizing directors with less commercial successes. Although both around the United States. The project In some cases, the need for such commercial and trade periodicals dis- research is urgent, given the potential started based on two observations about played consistent efforts to represent loss of senior filmmakers, institutional minority cinemas, there was a significant scholarly research on race in film and documents, or “orphan” film and video lack of reporting on Latino/Chicano works. But there is an additional need television studies: and Native American cinema in all of to conduct this research in sound ways. the periodicals. 1. that racial groups tend to be Thus, the project’s primary goal is to Below we discuss the various peri- looked at either in isolation or on the provide an alternative to the Hollywood basis of a one-to-one relationship with odicals tracked in this report, review bias within film and television stud- the findings regarding media policy and the dominant culture; and ies, thereby creating a new paradigm 2. that Hollywood often serves as the specific minority cinemas, suggest fur- for researching the history of minority ther areas for investigation, and provide predominant framework. participation in avant-garde film, video Recent work has challenged this nar- an extensive bibliography of the race- art, documentary, short narrative, and related articles in these periodicals. row model, since minority racial groups public affairs television. should be understood in relationship Our report takes a first step toward SOURCES to each other as well as the dominant this goal by comparing print discourses Our research report reviews represen- culture and since many of these groups about minority cinema in independent tative media periodicals, including have had limited access to the resources trade periodicals as well as in several institutional trade periodicals for and institutions needed for the feature- related film journals over the past independent film/video-makers (The length narratives typical of Hollywood. three decades. These periodicals are Independent Film and Video Monthly There remains a need to develop a valuable historical documents that [1979–2001] and Release Print critical paradigm for a comparative race provide a narrative of the emergence [1984–1998]) and commercial and jour- analysis that examines independent film of independent minority media prac- nalistic periodicals targeting a broader and video production. tices, individual minority filmmakers, readership (CineAction [1985–2001], Based on wide ranging conversations and the policies that foreground racial Cineaste [1967–2001], and Filmmaker with media advocates, festival program- diversity in independent media. In our [1992–1999]). mers, foundation program officers, and report, we compare reporting on African Originally, both The Independent independent producers, the CSRC Race American cinema, Asian American Film and Video Monthly and Release Print and Independent Media Project began cinema, Latino/Chicano cinema, and served the function of newsletters for to focus on minority participation in Native American cinema. their respective media organizations: the independent film and television history, Association of Independent Video and especially such understudied areas as: FINDINGS Filmmakers (AIVF) of New York and —media institutions, including the Our findings reveal that film periodicals the Film Arts Foundation (FAF) of San minority public broadcasting consortia, vary significantly in their coverage of Francisco. The first was begun in 1978 professional advocacy groups, archive both independent media policy and by the Foundation for Independent Film and research centers, festivals; minority cinemas. While coverage of and Video (FIFV), the largest national —production companies, including policy issues concerning racial diversity organization representing independent Blackside, Visual Communications, in independent media is virtually absent media artists. In 1994, FIFV went into Paradigm Productions; from more commercial periodicals, they partnership AIVF and The Independent —public affairs series, including take center stage in the institutional became The Independent Film and Video Black Journal, Silk Screen and Reflecciones; trade periodicals that function as a Monthly. According to the AIVF web- —key film and video texts, includ- public sphere where filmmakers debate site (www.aivf.org), “The Independent ing such documentary series as Eyes on the politics of representation. Coverage is published ten times annually, with a 2 U C L A C S R C MINORITY FILMMAKERS, MEDIA INSTITUTIONS, AND PRESS DISCOURSE per issue readership exceeding 30,000: the 1960s to the 1980s gradually gave Off-Hollywood Report and the IFP/West’s making it one of the most frequently way to a focus on minority cinemas of Montage magazine—were merged in published and widely read periodicals the United States during the cultural 1992 to form the quarterly Filmmaker. in the field. It deals with a wide range sea change of the 1990s. This change in Although the magazine is available as a of aesthetic, legal, business, free speech, focus reflected a shift in the meaning of benefit of IFP membership (which cur- and public policy issues, and offers news the term itself. The term Third Cinema rently numbers more than 10,000), over coverage and artist profiles. Regular was originally coined by Argentinean 50 percent of circulation copies are sold listings include the field’s most accurate filmmakers Fernando Solanas and on newsstands and retail bookstores. source of festival information, distribu- Octavio Getino in their 1973 mani- As presenters of the major coast-to- tor and funder profiles, and funding and festo “Toward a Third Cinema,” and coast indie film events—the annual exhibition opportunities.” was understood to mean non-Western Independent Feature Film Market, Release Print serves a similar purpose cinema only. But with the collapse of IFP Gotham Awards, and IFP/West on a more regional level. It is a monthly the Second World communist bloc, the Independent Spirit Awards—the IFPs newsletter issued by FAF, a non-profit increasing relocation of citizens from and Filmmaker contribute to the popu- Northern California organization. non-Western countries to the West, larization of independent filmmaking as Founded in 1976, FAF currently has and the emergence of diasporic cultural a news-making phenomenon. 3,400 members working in film, video expressions around the world, the mean- We tracked the coverage of media and multimedia. As the largest regional ing of the term began to shift. By the policy and minority cinemas in all advocate of independent producers, 1990s, works by diasporic and ethnic of these commercial and trade film FAF provides comprehensive training, filmmakers preoccupied with exploring periodicals from their inception to the equipment, information, consultations, their hybrid identities and cultural roots present. and exhibition opportunities to local while working in metropolitan areas of community. Like The Independent, the the West had emerged as the primary INDEPENDENT MEDIA POLICY institutional newsletter is issued ten subjects of Third Cinema discourse. The trade periodicals The Independent times per year in order to offer the Accordingly, Cineaste’s commitment to and Release Print have been more regional independent media community minority cinemas became more con- involved than the commercial peri- functional information such as produc- spicuous and notable during the 1990s, odicals in the coverage of the politics tion tips, reports on new technologies, though the journal intermittently high- of funding, advocacy, and policy, prob- information on festivals and media lighted individual minority filmmakers ably because their function was to markets, and funding and employment and their films in prior decades. disseminate information and facilitate opportunities. With the fitting subtitle “Radical a dialogue among independent media Of the more commercial film peri- Film Criticism and Theory,” the com- professionals. Both of these magazines odicals (i.e., those sold at bookstores mercial periodical CineAction likewise have always kept close tabs on congres- and newsstands), our main focus was devotes attention to the cinemas of mar- sional hearings and budget decisions on Cineaste. As a politically charged, ginalized groups such as gays, women (of regarding independent media. They leftist-oriented quarterly based in color), and black and Asian diasporas. did even more when the debates about New York City, Cineaste has shown As a Canada-based quarterly (of which funding and policy became particularly an abiding interest in marginalized film critic Robin Wood is chief editor), important during the late 1970s to the cinemas—including Third World, inde- CineAction analyzes transnational ethnic late 1980s, when many positive and pendent, and minority cinema—since filmmaking in a comparative paradigm negative changes in independent media its inception in 1967. While trade linking American, Canadian and British occurred, including a growing aware- periodicals such as The Independent and productions. ness of minority issues, the Reagan Release Print approach minority media Filmmaker: The Magazine of Inde- administration’s deregulatory measures, from the producers’ perspective, Cineaste pendent Film occupies a liminal space and the Public Telecommunications does so from the scholars’ perspective. between commercial periodicals and Act of 1988, which paved the way for Cineaste’s investment in minority cin- trade periodicals. Filmmaker is a joint the Independent Television Service.1 emas should be understood within the publication of the Independent Feature Both The Independent (1978) and larger context of Third Cinema debates. Project (IFP) in New York and the Release Print (1976) were formed The journal’s advocacy of revolutionary Independent Feature Project/West (IFP/ when the institutional frameworks of tricontinental Third World cinemas of West) in Los Angeles. The two organi- independent media and public televi- Latin America, Africa, and Asia from zations’ previous periodicals—IFP’s The sion were just beginning to focus on

3 CSRC RESEARCH REPORT DECEMBER 2004 the representation and participation of independent media debate that The by each side of the debates. The of racial minorities within the system. Independent was famous for among inde- Independent continued its coverage of Their formation coincides with the pub- pendent filmmakers. CPB’s Program Fund by transcribing lication of the Corporation for Public One of the earliest funding and policy congressional hearings with indepen- Broadcasting’s (CPB) A Formula For issues that concerned The Independent dent filmmakers and activists such as Change: The Report on the Task Force on and one that became a major theme in Lawrence Sapadin and Marlon Riggs. Minorities in Public Broadcasting in 1978, the 1970s to late 1980s in the periodical Ever since regular meetings between which, along with CPB’s response in was CPB’s dissemination of funds to pub- CPB and representatives of the inde- 1979, sought to address inequalities in lic television stations and independent pendent filmmaking community were public television in representing and producers. The Independent argued that mandated in 1984, The Independent was employing racial minorities. As cover- independent producers and filmmakers vigilant about their coverage. Generally, age in The Independent shows, media should have an active role in garner- The Independent’s articles were against policy and minority media are often ing funds for themselves from CPB to corporate influence on public television overlapping issues. ensure, as the original Public Television and against the kinds of deregulation One of the first articles to appear Act suggested in 1967, ”the clearest that would corrupt public television and in The Independent that combined both expression of American diversity, and of independent programming. a concern for minority media and the excellence through diversity.” Whereas As The Independent covered the problems of funding policy was Pablo Release Print was interested in California important national issues relevant to Figueroa’s “Beware of False Images: state funding issues related to the local independent filmmakers and public Proper Subject Matter for Minority filmmaking scene, as well as politics broadcasting, Release Print devoted Filmmakers” (May 1980: 9–10). Figueroa, involving the local public television much more of its space to the thriving a Puerto Rican filmmaker, described and local cable access channels, The local independent filmmaking commu- recent efforts by minority groups to get Independent tended to be concerned nity, covering local public TV stations, CPB to ban “negative” images of minori- with national issues of public televi- local indie filmmakers, state funding ties. Figueroa summarized their Minority sion as a democratic public sphere and sources such as the California Arts Task Force Report as “very explicit in independent filmmakers’ access to it Council, and local media centers and the areas of stereotyping and positive/ through funding. The AIVF had the festivals. Much of this may be due to negative image making.” PBS responded role of representing a large faction of the rich tradition of independent film- to this report by getting rid of minority independent filmmakers. Therefore, making in Release Print’s home of the programs that PBS felt used negative ste- through the pages of The Independent it San Francisco Bay Area, in which the reotypes of minorities. This evaluation reported important news and discussions liberal community has supported many of stereotyping, he argued, was based important to members. of the most successful independent film- on the opinions of directors and admin- For example, in 1979, The Independent makers such as Marlon Riggs, Steven istrators of public television programs; recorded and transcribed the October Okazaki, and Jon Jost. Although Release that is, the “White-anglo-saxon-upper- 16 meeting of two CPB officials and Print was involved in the coverage of middle-class-male establishment of fifty-two independent filmmakers and national public television, its sections, public TV.” Figueroa decried the value producers (November 1979: 6–9). This such as the “Local Spotlight” column, judgments they made. Challenging the transcript, titled “CPB Pays a Visit: were devoted to an understanding of problematic dichotomy between positive Discussion of CPB Draft Proposal on the relationship of the local to the and negative images, he called for the the Issue of Independents and Public national. For example, Release Print’s freedom to represent “faithful reflec- Television, The Kitchen, October 16, coverage of the CPB meetings with tions of our people’s reality” without the 1979,” shows the earliest discussion independent producers had the specific censure of the white male majority. He at CPB regarding independents. The perspective of the local independent stated, “I found it sad when the group of debate centered on who should have filmmaking community of the San powerless minorities pressed the Board project selection authority, a definition Francisco Bay Area. Marlon Riggs, of CPB to support minority programs of “independent film,” and the attempt a Bay Area documentary filmmaker with ‘positive images.’ Of course, CPB to create diverse programming. As a and University of California, Berkeley jumped at the opportunity. No smart direct transcript of the meeting, this professor, in many ways epitomized this government would ignore an opportu- article provides a historical document perspective. Release Print published a nity to perpetuate their image.” Written about the struggle for independent report by him as a representative of the in 1980, this piece epitomizes the kind media and the specific attitudes taken Association of California Independent

4 U C L A C S R C MINORITY FILMMAKERS, MEDIA INSTITUTIONS, AND PRESS DISCOURSE

Public Television Producers (“CPB made by an African American—Melvin first arose as a reaction to the civil unrest ‘Rides’ Public TV into Commercial Van Peebles’ The Story of A Three Day of the 1960s and addressed the failure of Morass,” October 1986, vol. 9, no. 8: 3, Pass—in the second installment, Peavy media to represent minorities; the sec- 12–13). Riggs’s response to the meeting highlighted the role of so-called pov- ond amended the first generation’s work revealed a specifically urban and local erty film programs in the emergence by trying to diversify its subject matter; perspective as he complained that “we of young black filmmakers such as and the third was based in “a view and were lectured by a representative from Richard Mason (a New York inner-city interpretation of American issues based the Arkansas Network” and he pointed high-school drop-out) and black film in the ‘minority’ experience” but also out “the difference between corporate organizations such as the Twelfth and treated “issues, trends and phenomenon America’s attraction to programs of Oxford Street Film Makers Corporation not necessarily directly connected to conventional opera and the need for (a former Philadelphia gang). ‘minority’ life” (April 1980: 9). programs about AIDS.” The concerns Cineaste covered the Santa Barbara- Following Bourne’s lead was Marlon of a filmmaker who had become a role based Brooks Foundation film program Riggs, who actively contributed to both model for controversial filmmaking is that was responsible for funding a num- trade periodicals—The Independent and representative of Release Print’s own ber of inner-city film projects in New Release Print—as a media activist and preoccupation with the local political York, Philadelphia, and Watts and pro- critic rather than just as a filmmaker context of independent filmmaking. viding opportunities to poor teenagers in to be interviewed. In Release Print’s Other articles such as “Notes on Bay urban areas. As Cineaste’s editors pointed October 1986 and November 1987 Area Independent Feature Filmmaking” out, these programs operated from the issues, Marlon Riggs, who was then and Jon Jost’s “Reverse Angle: Some “perspective of a society that can write the representative of the Association Thoughts in ‘Independence’” specifi- a check for a few thousand dollars to of California Independent Public cally address independent filmmakers allow underprivileged urban youth to Television Producers, reported on the who work within a local context. Upon make films and then point with pride yearly consultative meetings between looking through twenty-five-plus years to its efforts in improving conditions in the CPB Program Fund staff and the of publication of Release Print, it is clear the ghettos while still refusing to really National Coalition of Independent that what distinguishes it as a trade tackle the problems of this country’s Public Television Producers. Riggs periodical for independent filmmak- inner-city living conditions” (vol. 3, expressed his frustration over the dif- ers is its preoccupation with the local no.2: 4). Although limited in its efforts, ficulty of negotiating the gap between filmmaking scene and its liberal politics the Brooks Foundation served as a pre- policymakers and indie producers: “CPB regarding race, gender, and sexuality. cursor to CPB’s minority consortia as a and indies talk, but seldom achieve Overall, The Independent and Release funder of public interest minority media. dialogue. Each side speaks a different Print offer valuable historical docu- The Independent’s coverage of language. They mouth the same words— ments about independent filmmaking African American independent media ‘public television,’ for instance—but the within the last three decades from the began in 1980 with St. Clair Bourne’s meanings are unconnected, grounded in national and the local perspective. In “Chamba Notes” (April 1980). This radically divergent ideas of what public this way, they provide a narrative of article launched an important voice in television is and should be” (October an independent practice and its various African American independent media. 1986: 12). A few years later, in April participants. Bourne was a pioneering independent 1991, The Independent ran Riggs’ article producer/director who worked on Black “Black Macho Revisited: Reflections AFRICAN AMERICAN CINEMA Journal, one of the first public television of a Snap! Queen,” which criticized The earliest treatment of African programs devoted to minority issues. In homophobic representations of Black American independent media is the article, Bourne called for scrutiny of gay men among Black male rappers and Cineaste’s essay trilogy on black the CPB and attention to the state of filmmakers from Heavy D to Spike Lee’s filmmakers authored by Charles D. independent, publicly funded media. He School Daze. Later that year, in October Peavy: “The Films of Richard Mason” used the early black news and cultural 1991, The Independent reported the (Spring 1969 vol. 2, no. 4,), “An Afro- affairs programs of the 1960s and 1970s censorship debates surrounding Marlon American in Paris: The Films of Melvin (Black Journal, Soul!, Interface, and Black Riggs’ controversial video Tongues Van Peebles” (Summer 1969 vol. 3. Perspective) to talk about the history of Untied (“Tongues Tied: Homophobia no. 1,) and “Cinemas from the Slum” minority programming and its needs as a Hamstrings PBS”; 4–6). Originally (Fall 1969 vol. 3, no.2,). Apart from developing field. He defined three gen- scheduled to air in July 1991 on P.O.V, reviewing the first U.S. feature film erations of minority programming: the a PBS series featuring independent

5 CSRC RESEARCH REPORT DECEMBER 2004 video and film documentaries, Tongues 2–3, 1992, and Bamboozled in vol. 16, no. the Eastman Foundation, the series Untied was dropped by 104 stations, 2, 2001). In these Spike Lee symposia, covered many African American more than 50 percent of PBS affiliates Cineaste collected the voices of African related topics, such as “Re-Creating carrying the series (most of those sta- American writers including Todd Boyd, Their Media Image: Two Generations tions that did air the film relegated it Zeinabu Irene Davis, bell hooks, Jacquie of Black Women Filmmakers” (vol. to the late hours of the night). Affiliate Jones, Jesse Rhines, and Armond White. 20, no.3, 1994), “Daughter of the cancellations of Tongues United, along The journal also ran several interviews Diaspora: A Filmography of Sixty-Five with other programs with gay subject with Lee and additional reviews of his Black Women Independent Film- and matter (such as Charles Atlas’ Son of films, confirming his star status in the Video-makers” (Ibid.), “Tragically Hip: Sam and Delilah) fanned controversy minority filmmaking scene. CineAction’s Hollywood and African-American about public television’s collusion with most substantial treatment of minority Cinema” (vol. 20, no. 4, 1994), “The the mainstream silencing of marginal- cinema is likewise centered on Do the Political Economy of Black Film” (vol. ized groups. Riggs himself responded to Right Thing. Comparable to Cineaste’s 21, no. 3, 1995), “Race, Class and this controversy in the pages of Release critical symposium, CineAction’s dossier Gender in Darnell Martin’s I Like It Print (“Tongues Retied?: Marlon Riggs on the film (No. 40, 1996) constitutes Like That” (vol. 22, no. 3, 1996), and Snaps! Back,” September 1991). He four critical essays by different authors. “St. Clair Bourne: Documenting the indicted not only arch-conservatives What is distinctive about trade African-American Experience” (vol. and religious executives who banned periodicals output on African American 26, no. 3, 2001). Jesse Rhines’s “The his work with the excuse of “community media is their avoidance of the Spike Political Economy of Black Film” in standards,” but criticized public televi- Lee phenomenon, which drastically particular provided useful information sion’s complicity with the “mythically changed African American film’s rela- about the profile of black film produc- patriarchal, heterosexist and usually tionship to mainstream Hollywood. tion, distribution, and exhibition from white” community. The Independent and Release Print had the late 1960s (when Gordon Parks, One of the notable differences focused on minority directors with the first black director in Hollywood, between commercial periodicals and less commercial successes (albeit more made The Learning Tree) to the early trade periodicals becomes salient in light critical accolades) such as Marlon 1990s, an era dubbed as the “Black of what might be termed the “Spike Lee Riggs, Charles Burnett, Julie Dash, and Film Renaissance.” Despite a number of debate.” The trade periodicals tended Cauleen Smith. Although the com- talented young black filmmakers enter- not to cover Spike Lee, the commercial mercial periodicals also discussed these ing the mainstream Hollywood industry, periodicals tended to canonize him. more obscure directors, their emphasis most of the profits from these directors’ In vol. 17, no. 4, 1990, Cineaste was black filmmakers with crossover works were controlled by white-owned devoted a considerable number of pages appeal such as Spike Lee, Mario van distribution and exhibition companies, to Spike Lee’s oeuvre, containing two Peebles, John Singleton, the Hudlin making reinvestment in black film- major articles on Lee’s films: “Renewing brothers, and Darnell Martin. making difficult. Rhines urged the the African American Cinema: The However, in vol. 20, no. 2, 1993 community to venture into alternative Films of Spike Lee” and “What Is the Cineaste printed an abridged version distribution and exhibition markets Right Thing?: A Critical Symposium of the chapter on black film in Ed such as cable, satellite, direct-to-video, on Spike Lee’s Do the Right Thing.” In Guerrero’s book Framing Blackness: The and CD-ROM/interactive disc arenas. the first article, Eric Perkins stressed the African-American Image in Film., This Cineaste also addressed a number of significance of Lee, whose “explosion surveyed the collective tendencies of African American women filmmakers, on to the commercial filmmaking scene minority filmmaking, going beyond including Kathleen Collins, Julie Dash, heralds a rebirth of African-American the works of individual filmmakers. Alile Sharon Larkin, Monica Freeman, cinema” (p. 4). He canonized Lee as The article eventually led to the “Race Camille Billops, Leslie Harris, Darnell inaugurating the new African American in Contemporary American Cinema” Martin, and Daresha Kyi. CineAction ran Cinema, a term published for the first series that began in 1994 and contin- two major articles concerning African- time in the journal. In the second ues today (published intermittently Canadian women filmmakers: “A article, Do The Right Thing provided the in some 1997, 1998, 1999, and 2000 Cinema of Duty: The Films of Jennifer subject of the first of three Cineaste sym- issues). The series was launched under Hodge de Silva” (no. 23, Winter posiums on Spike Lee films, a collection the aegis of Dan Georgakas, a senior 1990–1991) and “Don’t Go to Dat of reviews on the same film (the other editor of Cineaste, and Jesse Rhines, Place and Fool Around Like Rich Girls: two were on Malcolm X in vol. 14, nos. assistant editor. Partially funded by Black Canadian Women Filmmakers

6 U C L A C S R C MINORITY FILMMAKERS, MEDIA INSTITUTIONS, AND PRESS DISCOURSE and Video Artists” (no. 32, Fall 1993). did not endear the term to individual and Deann Borshay Liem. Also, articles The Independent’s December 1986 cover Asian American and Asian Canadian such as Kevin Sun’s “Youngbloods: A story, “New Images: An Interview with filmmakers. However, the article also Toast to Asian American Independents” Julie Dash and Alile Sharon Larkin,” as showed how this term could be help- in the March 1997 issue of Release Print well as its March 1992 cover story, “The ful to filmmakers in getting funding featured filmmakers Quentin Lee, Justin New Sisterhood: African American to show their films in an increasingly Lin, Chris Chan Lee, Eric Nakamura, Women Directors,” are among the most bureaucratic and fiscally competitive Michael Idemoto, and Rea Tajiri, and substantial treatments of black female system, one sustained by such institu- discussed their films within the frame- filmmakers to appear in the periodicals. tionally viable labels as Asian American work of post-1970s issues. The Independent (April 1999), Release Cinema. Therefore, by suggesting how Not only does comparative linear Print (October 1998), and Filmmaker the term could be used for ongoing historicization appear through the (February–April 1999) collectively political activity—through the media various issues of The Independent, Release highlighted experimental filmmaker centers that were engendered by the Print, CineAction, and Cineaste, but also Cauleen Smith’s first dramatic feature Asian American Cinema Movement filmmakers and video artists who defy Drylongso (Ordinary). of the 1970s—the article demonstrated easy categorization. Such filmmakers that Asian American Cinema had a as Trinh T. Minh-ha, Arthur Dong, ASIAN AMERICAN CINEMA historically specific function.2 Christine Choy, and Valerie Soe made In 1995, Peter Feng wrote that “perhaps The periodicals also make evident films with political, aesthetic, and it does not matter whether ‘Asian a historical shift in Asian American cultural concerns that eclipsed those American Cinema’ makes any political independent cinema around the begin- dominant in “Asian American Cinema.” or esthetic sense—after all, the term ning of the 1980s. This period saw the They embraced other markers of “classi- has currency in the cinematic market- grassroots efforts of Asian American fication,” such as those of gay/ lesbian place, as evidenced by the National filmmakers and media activists con- film, avant-garde film, or Third Cinema. Asian American Telecommunications solidate into a nationally viable media For example, starting in the early 1990s, Association, the Seattle Asian organization, National Asian American several articles and interviews with American Film Festival, the Los Angeles Telecommunications Association Greg Araki and Jon Moritsugu, whose Asian Pacific Film and Video Festival, (NAATA). This shift meant greater films are engaged with camp aesthetics and New York’s Asian American recognition and funding for Asian and queer issues, appeared in CineAction International Film Festival” (“In Search American films and filmmakers. It also and Release Print.3 Furthermore, The of Asian American Cinema: Race in marked greater opportunities for Asian Independent featured articles about Trinh Contemporary American Cinema, American filmmakers to move beyond T. Minh-ha throughout the 1980s and part 3” vol. 21, no. 1–2, 1995: 32). the community-based filmmaking that the 1990s.4 Trinh, in particular, came Nevertheless, it had become evident that marked the 1970s, which sought to use to represent independent filmmaking the sense of the term Asian American media largely for the purposes of social in the Bay Area during the 1980s and Cinema needed to be explained, both change. This shift in purpose began to 1990s. As a feminist, Asian, exile-in- in academic terms as well as within the be evident in the independent media America, University of California, community of independent filmmaking. periodicals, which reported on a ‘new Berkeley professor who is also an artist, Feng’s definition in Cineaste explicated generation’ of Asian American film that documentary filmmaker, and producer,, the complex historical and identitarian was markedly different in subject matter, she epitomizes the kind of politically politics involved in the term and called style, and political commitments than and intellectually informed indepen- for a critical dialogue on the quickly the films of the 1970s. The periodicals dent filmmaking practice advocated by shifting and extremely diverse film- showed the range and diversity of Asian the Independent. making practice. The article laid out American Cinema through their inter- As the variety of coverage shows, the limitations of an all-inclusive (as views and profiles of such “old school” independent media periodicals are a well as exclusive) definition of Asian filmmakers as Robert Nakamura, Loni useful tool for navigating the history of American Cinema as either a cultural, Ding, Renée Tajima-Peña and with minority independent filmmaking. Since aesthetic, or political term. One of the such “new generation” filmmakers as the 1970s, the two trade periodicals, The clear problems with the term Asian Greg Araki, Spencer Nakasako, Jon Independent and Release Print, have traced American Cinema was its use by exter- Moritsugu, Quentin Lee, Justin Lin, the development of Asian American nal forces and its definition by market and Rea Tajiri as well as new video independent media from grassroots forces. Feng’s article noted that this documentarians, Spencer Nakasako, community organizing to national

7 CSRC RESEARCH REPORT DECEMBER 2004 media distribution. Since many Asian publicized success helped to create a with Nava and Portillo (Spring 1995) are American independent filmmakers were climate for other black filmmakers to among the few articles that lent visibility also media activists, the trade periodicals make feature films in Hollywood, Luis to Latino/Chicano filmmakers. revealed how those responsible for mak- Valdez’s $100 million-grossing La Bamba ing many of the first Asian American did little in saving Latino directors from NATIVE AMERICAN CINEMA fiction films and documentaries were unemployment. In Cineaste, Native-American cin- also responsible for the establishment The focus of articles having to do ema passes virtually unrepresented, of Asian American media organizations. with Latino/Chicano independent although the “Race in Contemporary Since the early 1980s, Renee Tajima- media in The Independent related to its American Media” series included a Peña has been an editor and reporter role in reflecting the rapidly increasing couple of articles by Angela Aleiss for The Independent. Not only has she population of Latinos in the United about the image of Native Americans in been an important figure in Asian States. For example, one of the first Hollywood films (“Native Americans: American independent media as a film- articles was Jesús Salvador Treviño’s and The Surprising Silents” [vol. 25, no.1, maker—Who Killed Vincent Chin? (1988) José Luis Ruiz’s “A History of Neglect” 1995]; “Iron Eyes Cody: Wannabe made with Christine Choy—Tajima has (October 1979). Treviño and Ruiz Indian” [vol. 21, no.3, 1999). been the founding member of media lamented that “less than 1% of pro- Like its coverage of other minor- organizations such as Asian CineVision gramming funded by the Corporation ity groups’ independent media, The in New York and NAATA. She has also for Public Broadcasting over the past Independent’s articles on Native brought exposure to and equal opportu- ten years has been programming specifi- American media focused on media nities for the economically challenged, cally focusing on Hispanic communities initiatives and the general collectivity women, and people of color. Tajima’s in the United States” (12). They juxta- of media making. The December 1994 involvement with The Independent along posed this neglect with the likelihood issue of The Independent contained the with her coverage of such filmmaker/ that Hispanic Americans would com- journal’s most extensive coverage of activists as Steven Tatsukawa, Jim Yee, prise the largest minority in the United Native American media, including and Deann Borshay Liem, reveal the States by 1985. They asked, “How has a main article by Native American interconnectedness of Asian American the Corporation for Public Broadcasting filmmaker and media activist Victor independent media. Other articles endeavored to meet its obligation to pro- Masayeseva called “Through Native concerned with the institutional side of gram for the ‘convenience, interest and Eyes, The Emerging Native American Asian American independent cinema necessity’ of all of its publics, including Aesthetic.” Also in the issue was include those about Asian American Hispanic Americans?” (13). They had Beverly R. Singer’s article entitled film festivals and profiles of such media high hopes that the CPB Task Force on “Replaying the Native Experience,” organizations as NAATA. Minorities in Public Broadcasting’s long which discussed six Native American document “A Formula For Change” independent media productions made LATINO/CHICANO CINEMA (1979), would provide much needed between 1984 and 1994—Alexie Isaac’s In the periodical literature, the words attention to the deficit in Latino-pro- Eyes of the Spirit, Arlene Bowman’s most associated with Latino/Chicano duced programming. Navajo Talking Picture, Phil Lucas’ The filmmaking are “dearth of” and Most of the articles on Latino Honour of All, Victor Masayeseva’s “neglect.” Despite Cineaste’s consistent media in The Independent follow this Imaging Indians, and Sandy Johnson efforts to cover minority cinemas line of thought, with articles such as Osawa’s Lighting the Seventh Fire. Singer (primarily those by African Americans “Generation Ñ, Que Pasa with LA’s emphasized the significance of commu- and Asian Americans), Latino/Chicano Second Largest Population Group” nities, ancestral lifeways, and identities cinema was almost invisible in the (April 1999) regularly emphasizing in these works. In terms of media orga- periodical. the paucity of Latino independent nizations, The Independent’s October Gary M. Stern’s article “Why the media. Other articles covered such 1985 issue contained an article by Renee Dearth of Latino Directors?” (vol. 29, Latino video makers and filmmakers Tajima entitled “Thinking Globally nos. 2–3, 1992) suggests that “the forces as Lourdes Portillo, Hector Galan, and Acting Locally—Native American that have worked to encourage black Luis Valdovino. Indian Media and the Atlanta Media filmmakers in America in recent years Cineaste’s interview with Gregory Project,” which discussed the role of have not applied the same pressure to Nava (vol. 21, no. 4, 1995) and the Native American India Movement promote Latino filmmakers” (45). Stern Filmmaker’s cover story on Edward James (NAIM) throughout the United States. points out that while Spike Lee’s much- Olmos (Spring 1992) as well as interviews The Filmmaker (Winter 1998) issue ran

8 U C L A C S R C MINORITY FILMMAKERS, MEDIA INSTITUTIONS, AND PRESS DISCOURSE the article “Alien Nation,” a conversa- ethnic cinemas. We have suggested in N OTES tion with director Chris Eyre and writer this report that minority independent 1. As the result of PBS’s increasing Sherman Alexie who collaborated on media is not only a subject of functional corporate sponsorship and narrow program- Smoke Signals, the first commercially production practices but also can be ming of science and opera programs, independent producers convinced CPB distributed film written, directed, and situated within larger critical discourses to return its focus to the representation of coproduced by Native Americans. in cultural studies and diasporic Third diversity in television. The resulting Public Cinema. For further research, we Telecommunications Act of 1988 mandated CONCLUSION propose to investigate the following that CPB directly give a $6 million annual In our research, we have addressed areas: (1) the relationship between budget to the National Coalition of Indepen- dent Public Broadcasting Producers (NCIPBP) institutional policies and journalistic policymaking and funding institutions to develop programs through ITVS. The result discourses surrounding minority inde- and each minority consortium; (2) was problematic in many ways, including the pendent media by using a comparative, coproduction case studies in which two determination of what was deemed ‘diverse’ interethnic paradigm. By focusing on two or more minority groups are involved; and ‘independent’ for national broadcast. different types of periodicals—institu- (3) the potential of digital technologies 2. See Feng’s follow up article (1999). 3. See Wood (1994) and Redpath, tional trade periodicals for independent and new delivery system as alternative (1991). film/video-makers (The Independent and production, distribution, and exhibition 4. See Kelly (1998), Kotz (1989), and Release Print) and more commercial modes for under-funded minority film- Trinh T. Minh-ha (1987). and journalistic periodicals targeting a makers; and (4) the comparative study broader readership (CineAction, Cineaste, of such PBS omnibus programs as POV and Filmmaker)—we were able to pro- and Frontline which regularly feature vide a comprehensive overview of the documentaries produced by minority coverage of and formation of distinct filmmakers.

ABOUT THE AUTHOR Hye Seung Chung received a Ph.D. from the UCLA Department of Film, Television, and Digital Media, and is currently a postdoctoral fellow in the the University of Michigan Department of Asian Languages and Cultures. Jun Okada, a doctoral candidate in the same UCLA department, is completing her dissertation on the institutional history of Asian American independent film and video.Maja Manojlovic, also a doctoral candidate in the that department, is currently working on her dissertation on the production of space and digital aesthetics.

9 CSRC RESEARCH REPORT DECEMBER 2004

ARTICLES ON INDEPENDENT MEDIA GENERAL BY ETHNICITY Gagnon, Monika. 1991. “In Light of Difference: In Visible Colours Film/Video Festival and Symposium.” CA no. 24/25 (August). [Feminist Film Theory Criticism]. CINEACTION (CA) (1985-2001) Lee, Helen. 1991. “The Subaltern Body: A Study of Ethics, Alterity and Subject Construction.” CA no. 24/25 (August) [Feminist AFRICAN AMERICAN AND AFRICAN CANADIAN CINEMA/ Film Theory Criticism]. MEDIA Stam, Robert. 1993. “From Stereotype to Discourse: Methodological Bailey, Cameron. 1990-1991. “A Cinema of Duty: The Films of Reflexions on Racism in the Media.” CA no. 32 (Fall) [Race-ing Jennifer Hodge de Silva.” CA no. 23 (Winter) [Documentary Home: Race and Cultural Identity]. Theory and Politics]. Crichlow, Warren. 1995. “Doin’ Diaspora: Toronto International CINEASTE (C.) (1967–2001) Film Festival Inaugurates Planet Africa Programme.” CA no. 39 (December) [Contemporary World Cinema]. AFRICAN AMERICAN CINEMA/MEDIA Hezekiah, Gabrielle. 1993. “Don’t Go to Dat Place and Fool Around Backstein, Karen. 1993. “The Cinematic Jazz of Julie Dash.” C. 19, Like Rich Girls: Black Canadian Women Filmmakers and Video no. 4 (March). Artists.” CA no. 32 (Fall) [Race-ing Home: Race and Cultural Baraka, Amiri. 1991. “Amiri Baraka on New Jack City.” C. 18, no. 3 Identity]. (August). Hurst, James A. 1990. “‘Fuck Sal’s Pizza’: Spike Lee’s Do the Right Carrillo, Karen. 1996. “A Litany for Survival” [Race in Contemporary Thing as a Product of the Hip Hop Movement.” CA no. 21/22 American Cinema: Part 6], C. 22, no. 2 (June). (Summer/Fall) [Rethinking Authorship]. Cripps, Thomas. 1989. Ethnic Notions film review. C. 17, no. 1 Julian, Isaac. 1993. “Confession of a Snow Queen: Director’s Notes on (April). the Making of The Attendant.” CA no. 32 (Fall) [Race-ing Home: Crowdus, Gary, and Dan Georgakas. 1992. “Our Film Is Only a Race and Cultural Identity]. Starting Point: An Interview with Spike Lee.” C. 19, nos. 2-3 Lightning, Robert K. 1992. “Spike Lee’s Homophobia.” CA no. 29 (December) (Fall) [Revaluation Hollywood: Contemporary and Classical]. ———. 2001. “Thinking About the Power of Images: An Interview ———. 1995. “Planet Africa: Three Shorts.” CA no. 39 (December) with Spike Lee.” C. 26, no. 2 (March). [Contemporary World Cinema]. Doherty, Thomas, and Jacquie Jones. 1991. “Two Takes on Boyz N Kulczycky, Ted, Mitchell Shore, and Cory Silverberg. 1996. “Do The Hood.” C. 18, no. 4 (December). the Right Thing: A Spike Lee Dossier.” CA no. 40 (May) [Re- Georgakas, Dan. 1997. The Black Unicorn film review. C. 22, no. 4 Readings: Five Movie Classics. Bergman-GWTW-Hitchcock- (March). Kurosawa-Ophlus/Do the Right Thing: A Spike Lee Dossier]. Goodeve, Thyrza. 1990. Tongues Untied film review. C. 18, no. 1 Marks, Laura U. 1995. “Ghosts of Stories: Black Audio Film Collective’s (October) Who Needs a Heart?.” CA no. 36 (February) [Reviewing the Greene, Dennis. 1994. “Tragically Hip: Hollywood and African- Toronto Film Festival/Black Audio…/John Woo…]. American Cinema” [Race in Contemporary American Cinema: Mercer, Kobena. 1993. “Dark and Lovely Too: Black Gay Men in Part 2]. C. 20, no. 4. Independent Film.” CA no. 32 (Fall) [Race-ing Home: Race and Grundmann, Roy. 1992. “New Agendas in Black Filmmaking: An Cultural Identity]. Interview with Marlon Riggs.” C. 19, nos. 2-3 (December) Walcott, Rinaldo. 1992. “Keeping Black Phallus Erect: Gender and ———. 1990. Looking for Langston film review. C. 18, no. 1 the Construction of Black Masculinity in Boyz ‘N’ the Hood, CA (October). no. 30 (Winter) [Framing the Family]. ———. 1995. “Black Nationhood and the Rest in the West: An Interview with Isaac Julien.” C. 21, nos. 1-2 (February). ASIAN AMERICAN CINEMA/MEDIA Guerrero, Ed. 1993. “Framing Blackness: The African-American McAllister, Kirsten Emiko. 1992. “Asians in Hollywood.” CA no. 30 Image in the Cinema of the Nineties.” C. 20, no. 2 (December). (Winter) [Framing the Family]. Howard, Steve. 1985. “A Cinema of Transformation: The Films of Minh-ha, Trinh T. 1989. “Black Bamboo.” CA no. 18 (Fall) Haile Gerima.” C. 14, no. 1 (May). [Imperialism and Film] (Cover: Peter Rist’s introduction of Third Jaehne, Karen. 1990. “Melvin Van Peebles: The BAADASSSSS Cinema Festival”). Gent.” C. 18, no. 1 (October). O’Neill, Edward R.. 1997. “Asian American Filmmakers: The Next Jones, Jacquie. 1992. Daughters of the Dust film review. C. 19, nos. 2-3 Generation?: Identity, Mimicry and Transtextuality in Mina (December). Shum’s Double Happiness and Quentin Lee and Justin Lin’s Kantor, Michael. 1990. “Tearing the Roof Off the Sucker: An Shopping for Fangs.” CA no. 42 (February) [Chinese Films]. Interview with Reginald and Warrington Hudlin.” C. 18, no. 1 Wood, Robin. 1994. “Totally F**ed Up, but ‘Things Are Slowly (October). Getting Better’: An Interview with Gregg Araki.” CA no. 35 Linfield, Susan. 1984. “Sugar Cane Alley: An Interview with Euzhan (August) [Gays and Hollywood: Queer Cinema]. Palcy.” C. 13, no. 4 (October). LATINO/ CHICANO CINEMA/MEDIA Locke, John, Manning Marable, Jacquie Jones, Herb Boyd, Todd None. Boyd, bell hooks, Dan Georgakas, Julius Lester, and Jesse Rhines. 1992. “Malcolm X: By Any Reviews Necessary Symposium.” C. NATIVE AMERICAN CINEMA/MEDIA 19, nos. 2-3 (December). None.

10 U C L A C S R C MINORITY FILMMAKERS, MEDIA INSTITUTIONS, AND PRESS DISCOURSE

Lucia, Cynthia, Saul Landau, Armond White, Michael Rogin, Greg Warren, Freda. 2001. “Ralph Bunche Reconsidered: An Interview Tate and Zeinabu irene Davis. 2001. “Race, Media and Money: with William Greaves” [Race in Contemporary American A Critical Symposium on Spike Lee’s Bamboozled.” C. 26, no. 2 Cinema]. C. 26, no. 2 (March). (March). Williams, John. 1994. “Re-Creating Their Media: Two Generations Mask, Mia. L. 2000. “Buppy Love in an Urban World” [Race in of Black Women Filmmakers” [Race in Contemporary American Contemporary American Cinema: Part 11], C. 25, no. 2 Cinema: A Special Section]. C. 20, no. 3 (April). (March). ———. 1994. “Daughters of the Diaspora: A Filmography of Sixty- ———. 1998. Four Little Girls film review.C. 24, no. 1 (December). Five Black Women Independent Film- and Video-Makers” [Race Massood, Paula. 1993. Menace II Society film review. C. 20, no. 2 in Contemporary American Cinema: A Special Section]. C. 20, (December). no. 3 (April). Pappas, Peter, and Melanie Wallace. 1979. “Blacks Britannica: An Interview with David Koff and Musindo Mwinyipembe.” C. 9, ASIAN AMERICAN CINEMA/MEDIA no. 4 (Fall). Anton, Saul. 1994. “A Search for Roots and Identity: An Interview Perkins, Eric. 1990. “Renewing the African American Cinema: The with Tiana Thi Thahn Nga” [Race in Contemporary American Films of Spike Lee.” C. 17, no. 4 (June). Cinema: A Special Section]. C. 20, no. 3 (April). Peavy, Charles D. 1969. “Black Filmmakers: The Films of Richard Berry, Cecelie S. 1992. Mississippi Masala film review. C. 19, nos. 2-3 Mason.” C. 2, no. 4 (Spring). (December). ———. 1969. “An Afro-American in Paris: The Films of Melvin Van Cohan, Carley. 1989. Who Killed Vincent Chin? film review. C. 17, no. Peebles.” C. 3, no. 1 (Summer). 1 (April). ———. 1969. “Cinema from the Slums.” C. 3, no. 2 (Fall). Dittus, Erick. 1985. “Mississippi Triangle: An Interview with Pelecanos, George. 1991. New Jack City film review. C. 18, no. 3 Christine Choy, Worth Long and Allan Siegel.” C. 14, no. 2 (August). (September). Phillips, Julia. 1993. “Growing Up Black and Female: Leslie Harris’s Feng, Peter X. 1995. “In Search of Asian American Cinema” [Race Just Another Girl on the IRT.” C. 19, no. 4 (March). in Contemporary American Cinema: Part 3]. C. 21, nos. 1-2 Quart, Leonard. 1996. “Spike Lee’s Clockers: A Lament for the Urban (February). Ghetto.” C. 22, no. 1 (April). ———. 1995. “A Recommended Filmography of Contemporary Quintana, Alvina. 1996. “Race, Class and Gender in Darnell Martin’s Asian American Titles” [Race in Contemporary American I Like It Like That” [Race in Contemporary American Cinema: Cinema: Part 3]. C. 21, nos. 1-2 (February). Part 7]. C. 22, no. 3 (December). ———. 1996. “Redefining Asian American Masculinity: Steven Rhines, Jesse. 1994. “Stimulating a Dialog Among African- Okazaki’s American Sons” [Race in Contemporary American American Viewers: An Interview with Daresha Kyi.” [Race in Cinema: Part 7]. C. 22, no. 3 (December). Contemporary American Cinema: A Special Section]. C. 20, ———. 1999. “The State of Asian American Cinema: In Search of no. 3 (April). Community.” C. 24, no. 4 (September). ———. 1994. “Integrating the Film Industry’s Unions: An Interview Reddy, Gitta. 1994. From Hollywood to Hanoi film review [Race in with Grace Blake” [Race in Contemporary American Cinema: Contemporary American Cinema: A Special Section]. C. 20, Part 2]. C. 20, no. 4 (October). no. 3 (April). ———. 1995. “The Political Economy of Black Film” [Race in Thi Thanh Nga, Tiana. 1995. “The Long March from Wong to Contemporary American Cinema: Part 4]. C. 21, no. 3 (July). Woo: Asians in Hollywood” [Race in Contemporary American Massood, Paula J. 2000. Summer of Sam film review. C. 25, no. 2 Cinema: Part 5]. C. 21, no. 4 (December). (March). West, Dennis, and Joan M. West. 2001. “Dishing Up Comedy Spiced Richolson, Janice Mosier. 1991. “He’s Gotta Have It: An Interview with Chutney: An Interview with Nisha Ganatra” [Race in with Spike Lee.” C. 18, no. 4 (December). Contemporary American Cinema]. C. 26, no. 2 (March). Roffman, Peter, and Bev Simpson. 1985. “A Soldier’s Story: An LATINO/ CHICANO CINEMA/MEDIA Interview with Howard E. Rollins, Jr.” C. 14, no. 1 (May). Fregoso, Rosa Linda. 1995. “Hanging Out with the Homegirls?: Shepard, Thom. 1977. “Beyond the ‘Black Film’: An Interview with Allison Anders’s Mi Vida Loca.” [Race in Contemporary Gordon Parks.” C. 8, no. 2 (Fall). American Cinema: Part 4], C. 21, no. 3 (July). Sklar, Robert, Jacquie Jones, Salim Muwakkil, Zeinabu Irene Davis, Stern, Gary M. 1992. “Why the Dearth of Latino Directors?” C. 19, Charles Musser, and Lisa Kennedy. 1990. “What Is the Right nos. 2-3 (December). Thing: A Critical Symposium on Spike Lee’s Do the Right Thing.” West, Dennis. 1995. “Filming the Chicano Family Saga: An Interview C. 17, no. 4 (June). with Gregory Saga.” C. 21, no. 4 (December) De Stefano, George. 1984. Sugar Cane Alley film review. C. 13, no. 4 (October). NATIVE AMERICAN CINEMA/MEDIA Thompson, Clifford. 1997. Black Is…Black Ain’t film review. C. 22, Aleiss, Angela. 1995. “Native Americans: The Surprising Silents” no. 4 (March). [Race in Contemporary American Cinema: Part 4]. C. 21, no. ———. 2000. Homecoming: Sometimes I’m Haunted by Memories of 3 (July). Red Dirt and Clay film review [Race in Contemporary American ———. 1999. “Iron Eyes Cody: Wannabe Indian” [Race in Cinema: Part 11]. C. 25, no. 2 (March). Contemporary American Cinema: Part 10]. C. 25, no. 1 ———. 2001. “St. Clair Bourne: Documenting the African-American (December). Experience” [Race in Contemporary American Cinema]. C. 26, no. 3 (Summer).

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ARAB AMERICAN CINEMA/MEDIA Thomas, Deborah, and Saalfield, Catherine. 1991. “Geechee Girl American-Arab Anti-Discrimination Committee, ed. 1989. “The Goes Home, Julie Dash on Daughters of the Dust.” IFVM (July): Arab Image in American Film and Television.” (A supplement) 25-27. C. 17, no. 1 (April). Wali, Monona. 1987. “Eyes on the Prize: AFI Seminar Examines Jabara, Abdeen. 1996. “Tales from Arab Detroit” [Race in Contemporary Black Participation in American Media.” IFVM (June): 8-9. American Cinema: Part 6]. C. 22, no. 2 (June). Wali, Monona. 1988. “Life Drawing, Charles Burnett’s Realism.” IFVM (October): 16-22. THE INDEPENDENT FILM AND VIDEO MONTHLY Welbon, Yvonne. 1992. “Calling the Shots, Black Women Directors Take the Helm.” IFVM (March): 18-22. (IFVM) (1980-2001) Williams, John. 1989. “Bill Gunn: 1929-1989.” IFVM (July): 10-11. Williams, John. 1988. “Black Filmmaking in the 1990’s: A Pioneering AFRICAN AMERICAN CINEMA/MEDIA Ajalon, Jamika. 1994. “Black Cinema (A Celebration of Pan-African Event.” IFVM (December): 16-19. Film).” IFVM (July). ASIAN AMERICAN CINEMA/MEDIA Amato, Mia. 1987. “Black Cinema Group Forms in Bay Area.” IFVM Anbian, Robin. 1993. “James Yee, Executive Director, Independent (March): 2. Television Service.” IFVM (October): 22-23. Bainbridge, Richard. 1999. “Bourne to Be Wild.” IFVM (March): Coe, Michelle. 1999. “Funder F.A.Q.: NAATA.” IFVM (March): 34-37. 40-41. Bourne, St. Clair. 1988. “Bright Moments: The Black Journal Series.” Francia, Luis H. 19xx??????. “Asian American Indies Gain PTV IFVM (May): 10-13. Exposure.” IFVM (January/ February): 23-24. ———. 1980. “Chamba Notes. “Minority Programming on PTV.” Gee, Shannon. 1996. “Asian Advocates: The Seattle Asian American IFVM (April): 9. Film Festival.” IFVM (November): 40-41. Bowie, Nolan A. 1985. “Blacks in the Mass Media: The Reasons for Gever, Martha. 1985. “Dragon Busters.” IFVM (October): 8-9. Actions, the Actions to Take.” IFVM (May):18-20. Halpin, Mikki. 1997. “No Establishing Shot: Shu Lea Cheang Gets Broderick, Peter. 1990. “The Filmmakers’ Choice, Black Directors Web Site Specific. ”IFVM (July): 14-15. Lauded at the US Film Festival.” IFVM (May): 14-15. Huang, Vivian. 1994. “Minnie Hong, Exhibition Director, Asian Gabriel, Teshome H. 1989. “FESPACO After the Coup: 1989 Festival CineVision.” IFVM (July): 16-17. of Pan-African Cinema.” IFVM (July): 31-33. Ito, Robert. 2000. “East By West Coast, The Los Angeles Asian Gibson, Linda. 1994. “Coleen Smith.” IFVM (March): 38-39. Pacific Film and Video Festival Looks to the Future.” IFVM Harris, Kwasi. 1986. “New Images: An Interview with Julie Dash and (August/September): 24-26. Alile Sharon Larkin.” IFVM (December): 16-20. Jamayane, Laleen, and Rutherford, Anne. 1991. “Why a Fish Pond? Haug, Kate. 1999. “Cauleen Smith, Drylongso (Ordinary).” IFVM An Interview with Trinh T. Minh-ha.” IFVM (December): 20- (April): 11. 25. Hector-Harris, Carol. 1997. “Making Its Mark, The National Black Kelly, Margaret. 1998. “Love and Country, An Interview With Trinh Programming Consortium.” IFVM (November): 28-30. T. Minh-ha.” IFVM (July): 28-31. Makarah, O. Funilayo. 1994. “Charles Burnett, Director, Glass Keogh, Tom. 1995. “Jay J. Koh, Director, My Brown Eyes.” IFVM Shield.” IFVM (October): 11-13. (December): 14. Masilela, Ntongela. 1988. “Interconnections, the African and Afro- Kotz, Liz. 1989. “The Triple Bind.” (rev. of Woman Native Other by American Cinemas.” IFVM (Jan./Feb.) Trinh T. Minh-ha) IFVM (December): 21-22. McNair, Johnny. 1993. “David Johnson, Director/ Writer, The Mackey, Heather. 1994. “Valerie Soe, Video Artist.” IFVM (March): D.R.O.P. Squad.” IFVM (October): 16. 40-41. Moon, Spencer. 1991. “Miller Brewing Toasts African American Mertes, Cara. 1997. “Arthur Dong, Documentarian, Licensed to Kill.” Filmmakers.” IFVM (June): 9-10. IFVM (April): 9-10. Muhammad, Erika. 1997. “Hi-Tech Histories, Seven Artists Reflect Minh-Ha, Trinh T. 1987. “Questions of Images and Politics.” IFVM On Experimental Media of the African Diaspora.” IFVM (July): (May: 21-23. 32-37. Park, Jeanine. 1987. “The First Decade: The Asian American Parkerson, Michelle. 1987. “Answering the Void.” IFVM (April): International Film Festival.” IFVM (November): 25-27. 12-13. Peterson, Brendan. 2000. “Deann Borshay Liem, First Person Plural.” Power, Paul. 2000. “Veena Sud, One Night.” IFVM (July): 9. IFVM (December): 12. Riggs, Marlon. 1991. “Black Macho Revisited, Reflections of a Snap! Power, Paul. 2001. “Jim Yee Leaves ITVS.” IFVM (January/ February): Queen.” IFVM (April): 32-34. 13. Saalfield, Catherine. 1991. “Tongues Tied, Homophobia Hamstrings Reynaud, Berenice. 1994. “Asian American Media Hits Its Stride.” PBS.” IFVM (October): 4-6. IFVM (April): 24-27. Shapiro, Michele. 1994. “Remembering Marlon.” IFVM (July): 7-10. Rhodes, Lisa R. 1989. “M9ed Media: 1989 Asian American Simonds, Cylena. 1995. “Bridgett Davis, Director, Naked Acts.” IFVM International Video Festival.” IFVM (July): 34-35. (December): 14-15. Rhodes, Lucille. 1992. “A Huge Country Full of Foreigners, Emiko Tajima, Renee. 1990. “Double Vision, Teamwork on Eyes on the Prize Omori’s Hot (Summer) Winds.” IFVM (March): 30-32. II.” IFVM (April): 21-23. Rony, Fatimah Tobing. 1995. “Kayo Hatta, Writer/ Director, Picture Tajima, Renee E. and Willard, Tracey. 1984. “Nothing Lights a Fire Bride.” IFVM (March): 15-16. Like a Dream Deferred.” IFVM (November): 18-21. Soe, Valerie. 1991. “Visions of An Asian New World.” IFVM (July): 22-23.

12 U C L A C S R C MINORITY FILMMAKERS, MEDIA INSTITUTIONS, AND PRESS DISCOURSE

Tajima, Renee E. 1984. “Tribute to Tatsukawa: LA Activist LATINO/ CHICANO CINEMA/MEDIA Remembered.” IFVM (May): 8. Avila, Chelo. 1995. Short Ends: “The Hispanic Film Project.” FM 3, Tajima, Renee E. 1985. “Nakamura and Ding Receive Award.” IFVM no. 2 (Winter): 75. (September): 6. Avila, Chelo. 1995. “One Upon A Time In East L.A.: Chelo Avila Thomson, Patricia. 1991. “Scene Change, Playwright David Henry Talks With Gregory Nava About his My Family.” FM 3, no. 3 Hwang Moves into Film.” IFVM (April): 20-21. (Spring): 43. White, Jerry. 1995 “Spencer Nakasako and Sokly Ny, Documentarians, Chua, Lawrence. 1997. “Tarnished Angels: Lawrence Chua Talks a.k.a Don Bonus.” IFVM (December): 16-17. With Ela Troyano About Latin Boys Go To Hell. ” FM 5, no. 4 (Summer): 44. LATINO/ CHICANO CINEMA/MEDIA Garrett, Stephen. 1999. “No Man’s Land.” Filmmaker February-April: None. 82-83, 108-109. Horn, Andrew. 1997. “Andrew horn Talks With Latin Boys Producer NATIVE AMERICAN CINEMA/MEDIA Jurgen Bruning.” FM 5, no. 4 (Summer): 45, 74-75. None. Reynaud, Berenice. 1995. “Anatomy of a Murder: Berenice Reynaud on Lourdes Portillo’s The Devil Never Sleeps.” FM 3, no. 3 FILMMAKER (FM) (1992-2001) (Spring): 46-47. Willis, Holly. 1998. “Twice Told Tale.” FM 6, no. 2 (Winter): 60, AFRICAN AMERICAN CINEMA/MEDIA 105-106. Andrews, Beverly. 1995. “Short Ends: The Art of Black Cinema.” FM 3, no. 4 (Summer): 63-64. NATIVE AMERICAN CINEMA/MEDIA Block, Doug. 1994. “Net Profit: Doug Block HooksHoop Dreams.” FM Jones, Michael. 1998. “Alien Nation.” FM 6, no. 2 (Winter): 86. 3, no. 1 (Fall): 20-22, 56-57. Bowen, Peter. 1995. “The Persistence of Vision.” FM 3, no. 2 GENERAL (Winter): p. 44. Gallagher, Stephen. 1998. “Oddman Out.” FM 6, no. 2 (Winter): Forman, Michele. 1997. “Lost Generation: Michele Forman on 88-90. Macky Alston’s Family Name.” FM 6, no. 1 (Fall): 66-68. Gallagher, Stephen. 1998. “Elizabeth Schub.” FM 6, no. 3 (Spring): Gallagher, Stephen. 1995. “Poet Warriors.” FM 3, no. 2 (Winter): 45. 40. Gallagher, Stephen. 1995. “The Color Black” FM 3, no. 2 (Winter): Ise, Claudine. 1997. “No Exit; Claudine Ise on Robert Patton-Sprulli’s 28 Squeeze.” FM 5. no. 4 (Summer). Meyers, Michelle and Stephen Gallagher. 1999 “Face Off: Director Zeman, Josh. 1998. “Cost of Living.” FM 6, no. 3 (Spring): 66-67, Cauleen Smith brings a new urgency to black women’s issues in 99-100. her debut feature, Drylongso.” FM (February-April): 50. Miller, Bennett. 1999. “All the Rage.” FM (Spring): 44-46, 89-90. RELEASE PRINT (RP) (1984-1999) Noccenti, Annie. 1998. “Consecutive Sentences.” FM 6, no. 2 (Winter): 50, 109. AFRICAN AMERICAN CINEMA/MEDIA Pride, Ray. 1997. “Muddy Waters: Ray Pride on Kasi Lemmons’ Eve’s Anbian, Robert. 1993. “Driven by a Hunger of Memory: An Interview Bayou.” FM 6, no. 1 (Fall): 44, 83. with Frank Crosby and Shivaun Nestor.” RP 16, no. 8 (October): Sippl, Diane. 1994. “Breaking and Entering: Diane Sippl Talks With 9, 18-20. Charles Burnet About The Glass Shield.” FM 3, no. 1 (Fall): 32, Anbian, Robert. 1993. “Many Communities Celebrate at Three-Day 58-60. Tribute to Riggs.” RP 16, no. 9 (November): 4, 18. Taylor, Jennifer Maytorena. 1996. “Cheryl 2000: Jennifer Maytorena Anbian, Robert. 1994. News Briefs: “Marlon Riggs 1957-1994.” RP Taylor Speaks With The Watermelon Woman’s Cheryl Dunye.” 17, no. 4 (May): 2. FM 5, no. 1 (Fall): 31, 66-67. Anbian, Robert. 1990. “An Interview With Marlon Riggs: Tongues Vendler, Alex. 1996. “The Porn Aesthetic: D.P. Alex Vendler on Untied Lets Loose Angry, Loving Words.” RP 13, no. 3 (March): Shooting The Bible & Gun Club.” FM 5, no. 1 (Fall): 67-68. 5-6, 15-18. Voss, Karen. 1999. “Sugar Daddies.” FM (February-April): 64-65. Boughedir, Ferid. 1988. “African Filmmaker Abacacar Samb Dies.” RP 11, no. 2 (March): 4. ASIAN AMERICAN CINEMA/MEDIA “Ethnic Notions Premieres February 5.” 1987. RP 10, no. 1 (February): Bowen, Peter. 1996. “Peter Bowen on Ira Sach’s The Delta.” FM vol. 6. 5, no. 1. (Fall), Local Spotlight: “Film Fest Celebrates Black History Month.” 1987. Cho, Michael. 1997. “Unnatural Causes: Michael Cho on Arthur RP 10, no. 1 (February): 7. Dong’s Licensed to Kill.” FM 5, no. 3 (Spring): 38-39. Local Spotlight: “Retrospective for Black Director.” 1987. RP 10, no. Garrett, Stephen. 1998. “Phaedra Cinema.” FM 6, no. 2 (Winter): 8 (October): 7. 30-31. Local Spotlight: “Riggs Receives MAMA.” 1987. RP 10, no. 8 Kim, John. 1998. “Outward Bound: John Kim on Quentin Lee and (October): 7. Justin Lin’s Shopping for Fangs.” FM 6, no. 3 (Spring): 41. Local Spotlight: “African American Fest at ATA.” 1989. RP 12, no. Manteuffel (von), Monika. 1998. “Dispatches.” FM 6, no. 3 (Spring): 5 (July): 9. 68-69, 86. Mertes, Cara. 1998. “Cauleen Smith’s Drylongso (ordinary) Resonates Pride, Ray. 1998. “New Year’s Resolution.” FM 6, no. 4 (Summer): With the Details of Everyday Life.” RP 21, no. 8 (October): 34- 62, 63. 35.

13 CSRC RESEARCH REPORT DECEMBER 2004

Moon, Spencer. 1991. “African American Indies Honored in L.A.” LATINO/ CHICANO CINEMA/MEDIA RP 14, no. 3 (April): 4, 20-21. Carrasco, Adrian. 1987. “Interview: Luis Valdez.” RP 10, no. 9 Moten, Larry and Spencer Moon. 1987. “Black Film Group Pushes (November), in the insert Cine Accion News 3, no. 2 (Fall): International Perspectives.” RP 10, no. 1 (February): 3, 4. 1-2, 10. News Briefs: “Maga Link Named Black Programming Consortium.” Gee, Daven. 1994 “No Turning Back in Mexico: Interview with 1987. RP 10, no. 6 (July/August): 2. director Soco Aguilar and producer Lori Bransom Malm of No News Briefs: “‘91 Banner Year for African American Films.” 1991. RP Hay Vuelta Atras (No Turning Back).” RP 17, no. 8 (October): 14, no. 3 (April): 2-3. 8, 10, 23-25. Riggs, Marlon. 1991 “Tongues Retied? Marlon Riggs Snaps! Back.” RP “Local Latino Television Producers Showcase.” 1986. RP 11, no. 9 14, no. 7 (September): 9-10. >(November), in the insert Cine Accion News 2, no. 2 (Fall/ West, Stan. 1986. “Blacks Challenge Hollywood Stereotypes: The Winter): 5, 7. Story of Ethnic Notions.” RP 9, no. 9 (November), in the insert Local Spotlight: “‘Teatro Latino’ Video Premiere.” 1986. RP 9, no. 4 Cine Accion News 2, no. 4 (Fall/Winter): 6. (May): 7. Local Spotlight: “Screening for ‘Three by Three’.” 1986. RP 9, no. 4 ASIAN AMERICAN CINEMA/MEDIA (May):7. Anbian, Robert. 1993. “A Conversation with Jim Yee; NAATA Local Spotlight: “Latino Producers Showcase.” 1986. RP 9, no. 7 Director Takes Up Challenge at ITVS.” RP 16, no. 7 (September). (September): 6- 7, 17-19. Local Spotlight: “Latino Showcase at VFA.” 1986. RP 9, no. 8 “Asian American Showcase Opens March 7.” 1990. RP 13, no. 3 (October): 8. (March): 3. Local Spotlight: “Latino Producers at VFA.” 1986. RP 9, no. 9 “Asian American Showcase Opens March 7.” 1992. RP 15, no. 2 (November). (March)):7. Local Spotlight: “Latin Jazz at the York.” 1987. RP 10, no. 4 (May): 6. “Asian American Showcase Runs March 11-18 at the Kabuki.” 1993. Local Spotlight: “Argentine Cinema at Festival Latino. ” 1987. RP RP 16, no. 2 (March):6-17-18. (10, no. 7September): 7. “Asian American Film Fest Runs March 3-10.” 1994. RP 17, no. 2 “Sharks, Jets and Social Movements at Festival Cine Latino!” 1998. (March):6. RP 21, no. 7 (September): 14. Briggs, Pamela Beere. 1996. “Tony Bui Looks East From West.” RP 19, “Viva Festival Cine Latino!” 1994. RP 17, no. 7 (September): 8. no. 1 (February):28-36. West, Stan. 1986. “Hollywood’s War Against Ethnic America.” RP Jeung, Michel. 1996. “A Memoir of Ancestors in the Americas: Loni 9, no. 9 (November), in the insert Cine Accion News 2, no. 4 Ding talks about her new television series.” RP 19, no. 4 (May): (Fall/Winter): 6. 16-19, 30-32. Local Spotlight: “Asian-Americans on Art & Politics.” 1987. RP 10, NATIVE AMERICAN CINEMA/MEDIA no. 2 (March):7. Anbian, Robert. 1987 “American Indian Festival Rolls November Local Spotlight: “’Silk Screen’ Airs on KQED.” 1987. RP 10, no. 3 12-15: Canadian Pics, Will Sampson Tribute Highlight Annual (April):7. Fest.” RP 10, no. 9 (November): 3-4. Local Spotlight: “Japanese Video at Opera Plaza.” 1987. RP 10, no. 3 “American Indian Fest Opens November 9.” 1990. RP 13, no. 9 (April):7. (November):4. Local Spotlight: “Tokyo Time Opens in San Francisco.” 1987. RP 10, “American Indian Film Fest Runs November 6-13.” 1991. RP 14, no. no. 6 (July/ August):1, 6-7. 9 (November): 8, 14. Local Spotlight: “Asian American Fest Screens July 9.” 1989. RP 12, “American Indian Film Fest Puts Stress on Contemporary Struggles: no. 5 (July):10. 17th Annual Showcase Runs November 12-19.” 1992. RP 15, Marcus, Erica. 1995 “A Child’s Eye View of China’s Cultural no. 9 (November): 6, 17. Revolution.” RP 18, no. 7 (September):15-18, 26. “American Indian Film Festival Opens November 10.” 1988. RP 11, Mertes, Cara. 1998 “Terrible Beauty.” RP 21, no. 3 (April):21-23. no. 9 (November): 3. Morohoshi, K. Marie. 1994 “Highlights of the 13th Annual San “American Indian Film Fest Opens.” 1989. RP 12, no. 9 (November): Francisco International Asian American Film Festival.” RP 18, 4. no. 2 (March):8-9. Emerman, Marsha. 1986. “American Indian Film Fest Plays Palace Marcus, Erica. 1995 “A Child’s Eye View of China’s Cultural Nov. 14-15.” RP 9, no. 9 (November): 3. Revolution.” RP 18, no. 7 (September):15-18, 26. Local Spotlight: “American Indian Film Fest Benefit.” 1987. RP 10, Redpath, Mark. 1991 “Ultra Low-Budget Feature Filmmakers Explore no. 4 (May): 7. Youth & Nihilism: An Interview With Greg Araki & Jon Local Spotlight: “Native American Photo Show.” 1989. RP 12, no. 5 Moritsugu.” RP 14, no. 4 (May):10-11, 21-24. (July): 10. Sun, Kevin. 1997 “Youngbloods: A Toast to Asian American Independents.” RP 20, no. 2 (March):28-29. Tadic, Linda. 1991-92 “Shooting For the Contents: An Interview With Trinh T. Minh-ha.” RP 14, no. 10 (December/January): 8-9, 18-19.

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