Master Class with Julie Dash: Selected Bibliography 1 the Higher

Master Class with Julie Dash: Selected Bibliography

The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event.

Independent Filmmaking (History and Theory)

Biskind, Peter. Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film. New York: Simon & Schuster, 2004.

Ferncase, Richard K. Outsider Features: American Independent Films of the 1980s. Westport, C.T: Greenwood Press, 1996.

Horsley, Jake. Dogville Vs Hollywood: The War Between Independent Film and Mainstream Movies. London: Marion Boyars, 2005.

Levy, Emanuel. Cinema of Outsiders: The Rise of American Independent Film. New York: New York University Press, 1999.

LoBrutto, Vincent. The Encyclopedia of American Independent Filmmaking. Westport, C.T: Greenwood Press, 2002.

MacDonald, Scott. A Critical Cinema: Interviews with Independent Filmmakers. Berkeley: University of California Press, 1988.

Murray, Rona. Studying American Independent Cinema. Leighton, U.K: Auteur, 2011.

Newman, Michael Z. Indie: An American Film Culture. New York: Columbia University Press, 2011.

Rosenbaum, Jonathan. Movie Wars: How Hollywood and the Media Conspire to Limit What Films We Can See. Chicago: A Cappella, 2000.

Tzioumakis, Yannis. American Independent Cinema: An Introduction. New Brunswick: Rutgers University Press, 2006.

Master Class with Julie Dash: Selected Bibliography

Independent Filmmaking (Practice)

Garon, Jon M. The Independent Filmmaker's Law and Business Guide: Financing, Shooting, and Distributing Independent and Digital Films. Chicago: Chicago Review Press, 2009.

Gilroy, Frank D. I Wake Up Screening!: Everything You Need to Know About Making Independent Films Including a Thousand Reasons Not to. Carbondale: Southern Illinois University Press, 1993.

Grove, Elliot. Raindance Producers' Lab: Lo-to-no Budget Filmmaking. Oxford, U.K: Focal Press, 2004.

Lindenmuth, Kevin J. Making Movies on Your Own: Practical Talk from Independent Filmmakers. Jefferson, N.C: McFarland, 1998.

Merritt, Greg. Film Production: The Complete Uncensored Guide to Independent Filmmaking. Los Angeles: Lone Eagle Pub, 1998.

Rosen, David and Peter Hamilton. Off-Hollywood: The Making and Marketing of Independent Films. New York: Grove Weidenfeld, 1990.

Simonelli, Rocco and Roy Frumkes. Shoot Me: Independent Filmmaking from Creative Concept to Rousing Release. New York: Allworth Press, 2002.

Stubbs, Liz, and Richard Rodriguez. Making Independent Films: Advice from the Filmmakers. New York: Allworth Press, 2000.

Screenwriting

Bowden, Darsie. Writing for Film: The Basics of Screenwriting. Mahwah, N.J: Lawrence Erlbaum Associates, 2006.

Duncan, Stephen V. Genre Screenwriting: How to Write Popular Screenplays That Sell. New York: Continuum, 2008.

---. A Guide to Screenwriting Success: Writing for Film and Television. Landham, M.D: Rowman & Littlefield, 2006.

Field, Syd. Screenplay: The Foundations of Screenwriting. New York: Delta Trade Paperbacks, 2005.

Hiltunen, Ari. Aristotle in Hollywood: The Anatomy of Successful Storytelling. Bristol, U.K: Intellect Books, 2002.

McGrath, Declan and Felim MacDermott. Screenwriting. Burlington, M.A: Focal Press, 2003.

Master Class with Julie Dash: Selected Bibliography

Snyder, Blake. Save the Cat !: The Last Book on Screenwriting You'll Ever Need. Studio City, C.A: M. Wiese Productions, 2005.

---. Save the Cat! Goes to the Movies: The Screenwriter's Guide to Every Story Ever Told. Studio City, C.A: Michael Wiese Productions, 2007.

Tierno, Michael. Aristotle's Poetics for Screenwriters: Storytelling Secrets from the Greatest Mind in Western Civilization. New York: Hyperion, 2002.

Thompson, Kristin. Storytelling in Film and Television. Cambridge, M.A: Harvard University Press, 2003.

Trottier, David. The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script. Beverly Hills, C.A: Silman-James, 2009.

Case Study (Julie Dash)

Aldama, Frederick L. “Dash’s and Kureishi’s Rebellious Magicoreels.” in Postethnic Narrative Criticism: Magicorealism in Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie. Austin: University of Texas Press, 2003. 42-62.

Alexander, George. “Julie Dash.” in Why We Make Movies: Black Filmmakers Talk About the Magic of Cinema. New York: Harlem Moon, 2003. 232-243.

Alexander, Karen. “Julie Dash: Daughters of the Dust and a Black Aesthetic.” in Women and Film: A Sight and Sound Reader. Pam Cook and Philip Dodd (ed). Philadelphia: Temple University Press, 1993. 224-231

Bambara, Toni Cade. “Reading the Signs, Empowering the Eye: ‘Daughters of the Dust’ and the Black Independent Cinema Movement.” in Black American Cinema. Manthia Diawara (ed). New York: Routledge, 1993. 118-144.

Bobo, Jacqueline. “Daughters of the Dust.” in Black Women As Cultural Readers. New York: Columbia University Press, 1995. 133-166.

---. “Black Women Reading Daughters of the Dust.” in Black Women As Cultural Readers. New York: Columbia University Press, 1995. 167-196

Dash, Julie. Daughters of the Dust. New York: Dutton, 1997.

---. Daughters of the Dust: The Making of an African American Woman’s Film. New York: New Press, 1992.

Master Class with Julie Dash: Selected Bibliography

---. “Making Daughters of the Dust.” in Diversity, Dependence, and Oppositionality. Michael T. Martin (ed). Detroit: Wayne State University Press, 1995. 376-388.

Davies, Jude and Carol R. Smith. “Tensioned and interlocking identities in Daughters of the Dust.” in Gender, Ethnicity and Sexuality in Contemporary American Film. Edinburgh: Keele University Press, 1997. 82-90.

Foster, Gwendolyn A. “Julie Dash: I think we need to do more than try to document history.” in Women Filmmakers of the African and Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity. Carbondale: Southern Illinois University Press, 1997. 43-72.

Grayson, Sandra M. Symbolizing the Past: Reading Sankofa, Daughters of the Dust, & Eve's Bayou As Histories. Lanham, M.D: University Press of America, 2000.

Humm, Maggie. “Black Film Theory, Black Feminisms: Daughters of the Dust.” in Feminism and Film. Edinburgh: Edinburgh University Press, 2008. 113-141.

James, David E. “Projecting the Real by Rejecting the Reel: Illusions and the No Movies.” in The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles. Berkeley: University of California Press, 2005. 57-66.

Ogunleye, Foluke. “Transcending the ‘Dust’: African American Filmmakers Preserving the ‘Glimpse of the Eternal’.” College Literature 34.1 (2007): 156-173.

Petty, Sheila. “Reclaiming Africa: Black Women’s Discourses in Daughters of the Dust.” in Contact Zones: Memory, Origin, and Discourses in Black Diasporic Cinema. Detroit: Wayne State University Press, 2008. 80-103.

Ramanathan, Geetha. “Genre Covers” in Feminist Auteurs: Reading Women's Films. London: Wallflower Press, 2006. 77-108.

Raphael-Hernandez, Heike. The Utopian Aesthetics of Three African American Women (Toni Morrison, Gloria Naylor, Julie Dash): The Principle of Hope. Lewiston, N.Y: Edwin Mellen Press, 2008.

Redding, Judith M. and Victoria A. Brownworth. “Julie Dash: Someone Always Says No.” in Film Fatales: Independent Women Directors. Seattle: Seal Press, 1997. 190-202.

Rody, Caroline. “Daughters of the Dust.” in The Daughter's Return: African-American and Caribbean Women's Fictions of History. New York: Oxford University Press, 2001. 60-77.

Ryan, Judylyn S. “Renewing Self-Possession: Euzhan Palcy, Julie Dash, and Maureen Blackwood.” in Spirituality As Ideology in Black Women's Film and Literature. Charlottesville: University of Virginia Press, 2005. 119-145.

Master Class with Julie Dash: Selected Bibliography

Thompson, Lisa B. “Daughters of the Dust.” in Beyond the Black Lady: Sexuality and the New African American Middle Class. Urbana: University of Illinois Press, 2012. 89-94.

African-American Women in Film and Media Production

Bobo, Jacqueline. “Reading Through the Text: The Black Woman as Audience.” in Black American Cinema. Manthia Diawara (ed). New York: Routledge, 1993. 272-287.

Foster, Gwendolyn A.“Zeinabu irene Davis: Constructing an Oppositional Gaze.” in Women Filmmakers of the African and Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity. Carbondale: Southern Illinois University Press, 1997. 10-23.

--- “Julie Dash: I think we need to do more than try to document history.” in Women Filmmakers of the African and Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity. Carbondale: Southern Illinois University Press, 1997. 43-72.

hooks, bell. “The Oppositional Gaze: Black Female Spectators.” in Black American Cinema. Manthia Diawara (ed). New York: Routledge, 1993. 288-302.

Makarah, O. Funmilayo. “Fired Up!” in Black Women Film and Video Artists. Jacqueline Bobo (ed). New York: Routledge, 1998. 125-138.

Ramanathan, Geetha. “Black/White Looking Powers.” in Feminist Auteurs: Reading Women's Films. London: Wallflower, 2006. 45-76.

Raphael-Hernandez, Heike. The Utopian Aesthetics of Three African American Women (Toni Morrison, Gloria Naylor, Julie Dash): The Principle of Hope. Lewiston, N.Y: Edwin Mellen Press, 2008.

---. “Zeinabu irene Davis: A Powerful Thang.” in Film Fatales: Independent Women Directors. Seattle: Seal Press, 1997. 219-224.

Ryan, Judylyn S. “Reversing Dispossession: Black Women’s Cinema.” in Spirituality As Ideology in Black Women's Film and Literature. Charlottesville: University of Virginia Press, 2005. 87-118.

African-American Feminist Thought

Battle-Baptiste, Whitney, and Maria Franklin. Black Feminist Archaeology. Walnut Creek: Left Coast Press, 2011.

Master Class with Julie Dash: Selected Bibliography

Burack, Cynthia. Healing Identities: Black Feminist Thought and the Politics of Groups. Ithaca: Cornell University Press, 2004.

Collins, Patricia Hill. Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. New York: Routledge, 2000.

Guy-Sheftall, Beverly. Words of Fire: An Anthology of African-American Feminist Thought. New York: The New Press, 1996.

James, Joy, and T.D. Sharpley-Whiting (eds). The Black Feminist Reader. Oxford: Blackwell, 2000.

Wane, Njoki N. and Notisha Massaquoi. Theorizing Empowerment: Canadian Perspectives on Black Feminist Thought. Toronto: Inanna Publications and Education, 2007.

Waters, Kristin, and Carol B. Conaway. Black Women's Intellectual Traditions: Speaking Their Minds. Burlington: University of Vermont Press, 2007.

The L.A. Rebellion (General)

Bobo, Jacqueline. Black Women Film and Video Artists. New York: Routledge, 1998.

Field, Allyson N., Jan-Christopher Horak, Shannon Kelley, and Jacqueline Stewart. L.A. Rebellion: Creating a New Black Cinema. Los Angeles: UCLA Film & Television Archive, 2011.

Guerrero, Ed. “The Circus of Dreams and Lies: The Black Film Wave at Middle Age.” in The New American Cinema. Jon Lewis (ed). Durham: Duke University Press, 1998. 328-352.

Keeling, K. “School of Life: the L.A. Rebellion.” Artforum 50.2 (2011): 294-297.

Masilela, Ntongela. “The Los Angeles School of Black Filmmakers.” in Black American Cinema. Manthia Diawara (ed). New York: Routledge, 1993. 107-117.

Stewart, Jacqueline. “Defending Black Imagination: ‘L.A. Rebellion’ School of Black Filmmakers.” in Now Dig This! Art and Black Los Angeles (1960-1980). Kellie Jones and Hazel V. Carby (eds). Los Angeles: Prestel Publishing, 2011.

Smith, Valerie. Representing Blackness: Issues in Film and Video. New Brunswick, N.J.: Rutgers University Press, 1997.

The L.A. Rebellion (Filmmaker Case Studies)

Master Class with Julie Dash: Selected Bibliography

Brill, Lesley. “Boundaries, Burdens, and Stings: Living as Prey in Burnett’s Killer of Sheep.” in Crowds, Power, and Transformation in Cinema. Detroit: Wayne State University Press, 2006. 143-164.

Burnett, Charles, and Robert E. Kapsis. Charles Burnett: Interviews. Jackson: University Press of Mississippi, 2011.

Gerima, Haile, and Pamela Woolford. “Filming Slavery: A Conversation with Haile Gerima.” Transition 64 (1994): 90-104.

Grant, Nathan. “Innocence and Ambiguity in the Films of Charles Burnett.” in Representing Blackness: Issues in Film and Video. Valerie Smith (ed). New Brunswick, N.J: Rutgers University Press, 1997. hooks, bell. “A Guiding Light: An Interview with Charles Burnett.” in Reel to Real: Race, Class and Sex at the Movies. New York: Routledge, 2009. 192-215.

Kandé, Sylvie. “Look Homeward, Angel: Maroons and Mulattos in Haile Gerima’s Sankofa.” in African Cinema: Postcolonial and Feminist Readings. Kenneth W. Harrow (ed). Trenton, N.J: Africa World Press, 1999. 89-114.

Karikari, Kwame, and Haile Gerima. “Cinema Is a Weapon.” West Africa 3753 (1989): 24-30.

Keeling, Kara. “’In Order to Move Forward’: Common Sense Black Nationalism and Haile Gerima’s Sankofa.” in The Witch's Flight: The Cinematic, the Black Femme, and the Image of Common Sense. Durham: Duke University Press, 2007. 45-67.

Kleinhans, Chuck. “Charles Burnett.” in Fifty Contemporary Filmmakers. Yvonne Tasker (ed). New York: Routledge, 2011. 65-72.

---. “Realist Melodrama and the African American Family: Billy Woodberry’s Bless Their Little Hearts.” in Melodrama: Stage, Picture, Screen. J.S. Bratton, Jim Cook, Christine Gledhill (eds). London: British Film Institute, 1994. 157-167.

Murashige, Mike. “Haile Gerima and the Political Economy of Cinematic Resistance.” in Representing Blackness: Issues in Film and Video. Valerie Smith (ed). New Brunswick, N.J: Rutgers University Press, 1997. 183-204.

Pfaff, Françoise. “From Africa to the Americas: Interviews with Haile Gerima (1976-2001).” in Focus on African Films. Françoise Pfaff (ed). Focus on African Films. Bloomington: Indiana University Press, 2004. 203-220.

Reid, Mark A. “Haile Gerima: ‘Sacred Shield of Culture’.” in Contemporary American Independent Film: From the Margins to the Mainstream. Chris Holmlund and Justin Wyatt (eds). London: Routledge, 2005. 121-132.

Master Class with Julie Dash: Selected Bibliography

Skoller, Jeffrey. “Charles Burnett, Killer of Sheep.” in Shadows, Specters, Shards: Making History in Avant- Garde Film. Minneapolis: University of Minnesota Press, 2005. 109-130.

Ukadike, Nwachukwu F. “Haile Gerima (Ethiopia).” in Questioning African Cinema: Conversations with Filmmakers. Minneapolis: University of Minnesota Press, 2002. 253-280.

Re-framing Race in Cinema (African-American Cinema)

Bowser, Pearl, Jane Gaines, and Charles Musser. Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era. Bloomington: Indiana University Press, 2001.

Cripps, Thomas. Black Film As Genre. Bloomington: Indiana University Press, 1978.

Davis, Zeinabu irene. “The Future of Black Film: The Debate Continues.” in Diversity, Dependence, and Oppositionality. Michael T. Martin (ed). Detroit: Wayne State University Press, 1995. 449-454.

Diawara, Manthia. Black American Cinema. Hoboken, N.J: Taylor and Francis, 2012.

Donalson, Melvin B. Black Directors in Hollywood. Austin: University of Texas Press, 2003.

Gray, Herman. “The New Conditions of Black Cultural Production.” in Cultural Moves: African Americans and the Politics of Representation. Berkeley: University of California Press, 2005. 13-31.

Green, J.R. With a Crooked Stick: The Films of Oscar Micheaux. Bloomington: Indiana University Press, 2004.

Klotman, Phyllis R. Screenplays of the African American Experience. Bloomington: Indiana University Press, 1991.

Lawrence, Novotny. Blaxploitation Films of the 1970s: Blackness and Genre. New York: Routeledge, 2008.

Lupack, Barbara T. Literary Adaptations in Black American Cinema: From Micheaux to Morrison.

Mask, Mia. Contemporary Black American Cinema: Race, Gender and Sexuality at the Movies. New York: Routledge, 2012.

Stewart, Jacqueline N. Migrating to the Movies: Cinema and Black Urban Modernity. Berkeley: University of California Press, 2005.

Re-framing Race in Cinema (Aboriginal Cinema)

Master Class with Julie Dash: Selected Bibliography

Knopf, Kerstin. Decolonizing the Lens of Power: Indigenous Films in North America. Amsterdam: Rodopi, 2008.

Lickers, Cynthia. Imagine Native: Aboriginally Produced Film & Video. Toronto: V Tape, 1998.

Marubbio, M.E. and Eric L. Buffalohead (eds). Native Americans on Film: Conversations, Teaching, and Theory. Lexington, University of Kentucky Press, 2012.

Rader, Dean. Engaged Resistance: American Indian Art, Literature, and Film from Alcatraz to the Nmai. Austin: University of Texas Press, 2011.

Schweninger, Lee. Imagic Moments: Indigenous North American Film. Athens: University of Georgia Press, 2013.

Singer, Beverly R. Wiping the War Paint Off the Lens: Native American Film and Video. Minneapolis: University of Minnesota Press, 2001.

Re-framing Race in Cinema (Chicano/a Cinema)

Berg, Charles R. Latino Images in Film: Stereotypes, Subversion, Resistance. Austin: University of Texas Press, 2002.

Berumen, Frank J. G. The Chicano/Hispanic Image in American Film. New York: Vantage Press, 1995.

Fregoso, Rosa L. The Bronze Screen: Chicana and Chicano Film Culture. Minneapolis: University of Minnesota Press, 1993.

Maciel, David, Isidro D. Ortiz, and María Herrera-Sobek. Chicano Renaissance: Contemporary Cultural Trends. Tucson: University of Arizona Press, 2000.

Meléndez, A.G. Hidden Chicano Cinema: Film Dramas in the Borderlands. New Brunswick, N.J: Rutgers University Press, 2013.

Noriega, Chon A. The Chicano Studies Reader: An Anthology of Atzlán: 1970-2000. Los Angeles: UCLA Chicano Studies Research Center Publications, 2001.

---, and Ana M. López. The Ethnic Eye: Latino Media Arts. Minneapolis: University of Minnesota Press, 1996.

---. Shot in America: Television, the State, and the Rise of Chicano Cinema. Minneapolis: University of Minnesota Press, 2000.

Master Class with Julie Dash: Selected Bibliography

Representations of African-Americans in Hollywood Cinema

Bernardi, Daniel. The Persistence of Whiteness: Race and Contemporary Hollywood Cinema. London: Routledge, 2008.

Bogle, Donald. Bright Boulevards, Bold Dreams: The Story of Black Hollywood. New York: One World Ballantine Books, 2005.

Butters, Gerald R. Black Manhood on the Silent Screen. Lawrence: University Press of Kansas, 2002.

Clayton, Edward T. “The Tragedy of Amos and Andy.” Ebony (October 1961): 66-68+.

Curtis, Susan. The First Black Actors on the Great White Way. Columbia: University of Missouri Press, 1998.

Gabbard, Krin. Black Magic: White Hollywood and African American Culture. New Brunswick, N.J: Rutgers University Press, 2004.

Gerstner, David A. “The Queer Frontier: Vicente Minnelli’s Cabin in the Sky.” in Manly Arts: Masculinity and Nation in Early American Cinema. Durham: Duke University Press, 2006. 191-211.

Gevinson, Alan. Within Our Gates: Ethnicity in American Feature Films, 1911-1960. Berkeley: University of California Press, 1997.

Guerrero, Ed. Framing Blackness: The African American Image in Film. Philadelphia: Temple University Press, 1993.

Knight, Arthur. Disintegrating the Musical: Black Performance and American Musical Film. Durham, N.C: Duke University Press, 2002.

Lawrence, Novotny. Blaxploitation Films of the 1970s: Blackness and Genre. New York: Routledge, 2008.

Lehman, Christopher P. The Colored Cartoon: Black Representation in American Animated Short Films, 1907-1954. Amherst: University of Massachusetts Press, 2007.

Lott, Eric. Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press, 1995.

Massood, Paula J. Black City Cinema: African American Urban Experiences in Film. Philadelphia: Temple University Press, 2003.

McCluskey, Audrey T. Imaging Blackness: Race and Racial Representation in Film Poster Art.

Master Class with Julie Dash: Selected Bibliography

Bloomington: Indiana University Press, 2007.

Regester, Charlene B. African American Actresses: The Struggle for Visibility, 1900-1960. Bloomington: Indiana University Press, 2010.

---. “Stepin Fetchit: The Man, the Image, and the African-American Press.” Film History 6.4 (1994): 502- 521.

Rhines, Jesse A. Black Film, White Money. New Brunswick, N.J: Rutgers University Press, 1996.

Stanfield, Peter. Body and Soul: Jazz and Blues in American Film, 1927-1963. Urbana: University of Illinois Press, 2005.

Stewart, Jacqueline. “Negroes Laughing at Themselves? Black Spectatorship and the Performance of Urban Modernity.” Critical Inquiry 29.4 (2003): 650-677.

Walker, David, Andrew J. Rausch, and Chris Watson. Reflections on Blaxploitation: Actors and Directors Speak. Lanham, M.D: Scarecrow Press, 2009.

Weisenfeld, Judith. Hollywood Be Thy Name: African American Religion in American Film, 1929-1949. Berkeley: University of California Press, 2007.

Julie Dash – TIFF Film Reference Library Film File Clippings

Alexander, Karen. “Daughters of the Dust: Julie Dash Talks About African American Women’s Cinema and Images from Her Film.” Sight and Sound 3.9 (1193): 20-22.

Backstein, Karen. “The Cinematic Jazz of Julie Dash.” Cineaste 19.4 (September 1992): 88.

Bailey, Cameron. “Julie Dash: Indie talent’s breakthrough debut revels in lush black history.” Now Magazine (May 28, 1992): 28.

Brown, Georgia. “How We Grew.” The Village Voice (January 21, 1992): 52.

Groen, Rick. “Remembrance of Things Past.” The Globe and Mail (May 29, 1992).

Harris, Kwasi. “New Images: an interview with Julie Dash and Alile Sharon Larkin.” The Independent (December 1986): 16-20.

Lawrence, Angela. “Icons, Images, & Africa: Award-Winning Filmmaker Celebrates Gullah Culture.” The Metro Word (April 1992): 12-13.

Lee, Felicia R. “Where a Filmmaker’s Imagination Took Root.” The New York Times (December 3, 1997).

Master Class with Julie Dash: Selected Bibliography

MacInnis, Craig. “Visual poetry captures South Carolina’s Sea Island Culture.” The Toronto Star (May 29, 1992).

Rich, Ruby R. “Daughters of the Dust: In the Eyes of the Beholder.” The Village Voice (January 28, 1992): 60+.

Tate, Greg. “Of Homegirl Goddesses and Geechee Women: The Africentric Cinema of Julie Dash.” The Village Voice (June 1991): 72+.

---. “Favorite Daughters: Julie Dash Films Gullah Country.” The Village Voice (April 12, 1988): 27+.

Taylor, Noel. “Roots theme pursued with mystical fervor.” The Ottawa Citizen (July 3, 1992).

Verna, Stefan. “Black film-maker focuses on Gullahs’ odyssey north.” The Montreal Gazette (June 19, 1992).