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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. 1 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. 2 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. 3 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. 4 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
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