Sam Pollard Is an Accomplished Feature Film and Television Video

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Sam Pollard Is an Accomplished Feature Film and Television Video

Sam Pollard is an accomplished feature film and television video editor, and documentary producer/director whose work spans almost thirty years. He recently served as Producer and Supervising Editor on the Spike Lee directed HBO documentary If God Is Willing and Da Creek Don’t Rise, a five year follow up to the Emmy and Peabody award winning When The Levees Broke. His first assignment as a documentary producer came in 1989 for Henry Hampton’s Blackside production Eyes On The Prize II: America at the Racial Crossroads. For one of his episodes in this series, he received an Emmy. Eight years later, he returned to Blackside as Co-Executive Producer/Producer of Hampton’s last documentary series I’ll Make Me A World: Stories of African-American Artists and Community. For the series, Mr. Pollard received The George Peabody Award. Between 1990 and 2010, Mr. Pollard edited a number of Spike Lee’s films: Mo’ Better Blues, Jungle Fever, Girl 6, Clockers, and Bamboozled. As well, Mr. Pollard and Mr. Lee co-produced a number of documentary productions for the small and big screen: Spike Lee Presents Mike Tyson, a biographical sketch for HBO for which Mr. Pollard received an Emmy, Four Little Girls, a feature-length documentary about the 1963 Birmingham church bombings which was nominated for an Academy Award and When The Levees Broke, a four part documentary that won numerous awards, including a Peabody and three Emmy Awards. Mr. Pollard completed as a producer/director Slavery By Another Name a 90-minute documentary for PBS that was in competition at the Sundance Festival in 2012 and also just completed editing the feature length documentary Venus and Serena..

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Filmmaker Spike Lee, Songwriter and Musician Kirk Franklin Headline 2007-2008 University of Dayton Diversity Lecture Series
University of Dayton eCommons News Releases Marketing and Communications 8-6-2007 Filmmaker Spike Lee, Songwriter and Musician Kirk Franklin Headline 2007-2008 University of Dayton Diversity Lecture Series Follow this and additional works at: https://ecommons.udayton.edu/news_rls Recommended Citation "Filmmaker Spike Lee, Songwriter and Musician Kirk Franklin Headline 2007-2008 University of Dayton Diversity Lecture Series" (2007). News Releases. 9564. https://ecommons.udayton.edu/news_rls/9564 This News Article is brought to you for free and open access by the Marketing and Communications at eCommons. It has been accepted for inclusion in News Releases by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. UNIVERSITY o Aug. 6, 2007 Contact: Teri Rizvi [email protected] 937-229-3241 DAITON NEWS RELEASE FILMMAKER SPIKE LEE, SONGWRITER AND MUSICIAN KIRK FRANKLIN HEADLINE 2007-2008 UNIVERSITY OF DAYTON DIVERSITY LECTURE SERIES DAYTON, Ohio - An all-star line-up of acclaimed artists and journalists - including filmmaker Spike Lee and Grammy Award-winning gospel musician Kirk Franklin- will tackle "The Responsibility of Media in a Global Society" during the University of Dayton's 2007-2008 Diversity Lecture Series. The season includes: • Maria Hinojosa, 7:30 p.m., Friday, Sept. 7, Boll Theatre, University of Dayton. Free and open to the public. Part of Hispanic Heritage Month. Award-winning journalist and author Maria Hinojosa is managing editor and host of Latino USA, a weekly program on NPR. She also is the senior correspondent for the Emmy Award winning PBS Newsmagazine NOW. Previously, she spent eight years at CNN, where she covered urban affairs.
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Take the Stage
A WATCHUNG COMMUNICATIONS, INC. PUBLICATION The Westfield Leader and THE TIMES of Scotch Plains – Fanwood Thursday, January 18, 2001 Page 19 Artist of MyMy TwoTwo CentsCents the Week It’s 8 p.m. at the American Music Awards and We Ask: & ‘Britney Spears, Do You Know Where Your Clothes Went?’ By MICHELLE H. LePOIDEVIN And how could I be so remiss in paw her while she sings half- Specially Written for The Westfield Leader and The Times thinking that Britney’s perfor- clad herself is an overreaction! “While I was doing the dishes mance of “Stronger” wasn’t bor- How could I be so sensitive? I this morning, I actually asked derline pornographic? What’s must be a prude. Why don’t I get myself if I’ll be able to watch wrong with me? Half-naked girls with the times? television tonight.” My mother in body stockings and glitter gy- Why don’t they get a con- settled down with her crocheting Take the Stage rating around Britney, trying to science and take a class in re- WITH KERRIANNE SPELLMAN CORT and reading materials, almost sponsible television pro- Spike Lee Joint fearful of what insane images gramming? Spike Lee Joint would flash before her as the At Moravian College, I gave channels changed. a speech against banning A Shot in the Dark (1957- ) After last Monday evening’s books. I loathed censorship in telecast of the American Music all of it’s forms. But, I knew By MICHELLE H. LePOIDEVIN Awards, mom has been suffer- Misses WCPs Mark Specially Written for The Westfield Leader and The Times there was a definite line that, ing from PBS.
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4 Little Girls.Pdf
A Brief Introduction by John Lansingh Bennett Let’s Ground Ourselves for Just a Moment . Alabama’s Capital: Montgomery Largest City: Birmingham “Pittsburgh of the South” Setting the Stage 1948 Truman’s Executive Order ends segregation in the Armed Services. 1954 Brown v. Board of Education ends segregation in public schools. (Many schools remain segregated.) 1955 14-yr-old Emmett Till murdered for allegedly flirting with a white woman. Rosa Parks triggers Montgomery bus boycott. Setting the Stage 1957 Little Rock Nine blocked from integrating Central High School; Eisenhower sends federal troops to escort them. 1960 Greensboro Four refuse to leave a “whites only” Woolworth’s lunch counter without being served, sparking sit-ins elsewhere. 1961 Freedom Riders protest segregated bus terminals & attempt to use whites-only facilities. Setting the Stage 1963 In June, Gov. Wallace blocks U. of Alabama doorway to two black students. Standoff continues until Kennedy sends in the National Guard. In August, March on Washington for Jobs and Freedom. Rev. Martin Luther King gives “I Have a Dream” speech at the Lincoln Memorial. In September, bomb at 16th Street Baptist Church in Birmingham kills four and injures others. With members working in mining and industry in the 1950s, KKK chapters had ready access to dynamite and other bomb materials. In fact, Birmingham earned the nickname “Bombingham” for the 50 explosions in the city between 1947 and 1965. (One neighborhood was targeted so often it was nicknamed Dynamite Hill.) The bombing of the 16th Street Baptist Church was the third bombing in 11 days following a federal court order that mandated integration of Alabama schools.
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A Spike Lee Joints Retrospective, Jun 29—Jul 10
BAMcinématek and the Academy present By Any Means Necessary: A Spike Lee Joints Retrospective, Jun 29—Jul 10 Kicks off with a 25th anniversary screening of Spike Lee’s Do the Right Thing for Closing Night of BAMcinemaFest with Lee and cast in attendance 15 films in 35mm plus a rare 16mm print of Lee’s debut, Joe’s Bed-Stuy Barbershop: We Cut Heads The Wall Street Journal is the title sponsor for BAMcinemaFest, BAMcinématek, and BAM Rose Cinemas. Brooklyn, NY/May 22, 2014—From Sunday, June 29 through Thursday, July 10, BAMcinématek and the Academy of Motion Picture Arts and Sciences present By Any Means Necessary: A Spike Lee Joints Retrospective, a 12-day series spanning three decades and commemorating the 15th anniversary of BAMcinématek, which launched in 1999 with a survey of Lee’s career. The writer-director-actor’s consistently surprising work displays a boundless visual imagination, some of the most fearlessly intelligent discourse on race relations in American cinema, and an ability to infuse independent projects and big-budget blockbusters alike with his edgy, energetic style. From June 27—July 27, the Academy will also present a west coast retrospective of Lee’s work at the Academy’s Linwood Dunn Theater and the Bing Theater on the Los Angeles County Museum of Art campus. Kicking off the New York retrospective and closing BAMcinemaFest on June 29 is a 25th anniversary celebration of Lee’s Oscar®-nominated Do the Right Thing. The streets of Bed-Stuy boil in Lee’s tale of tensions run high on Brooklyn’s hottest day of the year.
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Blues, Violence, and the Male Body in the Films of Spike Lee
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2005 Beating Songs: Blues, Violence, and the Male Body in the Films of Spike Lee. Mikal J. Gaines College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the Film and Media Studies Commons Recommended Citation Gaines, Mikal J., "Beating Songs: Blues, Violence, and the Male Body in the Films of Spike Lee." (2005). Dissertations, Theses, and Masters Projects. Paper 1593092170. https://dx.doi.org/doi:10.21220/m2-xm07-1r65 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. BEATING SONGS: BLUES, VIOLENCE, AND THE MALE BODY IN THE FILMS OF SPIKE LEE A Thesis Presented to The Faculty of the American Studies Program The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts By Mikal J. Gaines 2005 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Approved/by thejCommittee, June 2005 Arthur Knight, Chair Christy Bums Kimberls> L. Phillips To all my family, friends, and colleagues for their support throughout this process. iii TABLE OF CONTENTS Page Acknowledgements v Abstract vi Introduction 2 Chapter I. An Auteur’s Paradigm for Blues 5 Chapter II. A Song for Richie 10 Chapter III.
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AM Augustwilson Prod Bios FINAL Rev011215
Press Contact: Natasha Padilla, WNET, 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , http://instagram.com/pbsamericanmasters , #AugustWilsonPBS American Masters August Wilson: The Ground on Which I Stand Premieres nationwide Friday, February 20, 9-10:30 p.m. on PBS (check local listings) in honor of the 70 th anniversary of Wilson’s birth, 10 th anniversary of his death and Black History Month Production Biographies Sam Pollard Director and Producer Sam Pollard is an accomplished feature film and television video editor and a documentary producer-director whose work spans almost 30 years. He recently served as producer and supervising editor on the Spike Lee-directed HBO documentary If God Is Willing and Da Creek Don't Rise , a five-year follow-up to the Emmy- and Peabody Award-winning When the Levees Broke . His first assignment as a documentary producer came in 1989 for Henry Hampton’s Blackside production Eyes on the Prize II: America at the Racial Crossroads . For one of his episodes in that series, he received an Emmy. Eight years later, he returned to Blackside as co- executive producer of Hampton’s last documentary series, I'll Make Me A World: Stories of African-American Artists and Community . Pollard received a Peabody Award for the series. Between 1990 and 2010, Pollard edited a number of Spike Lee’s films: Mo’ Better Blues , Jungle Fever , Girl 6 , Clockers and Bamboozled .
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Belknap Collection for the Performing Arts - the AFRICAN-AMERICAN CINEMA COLLECTION
AFRICAN-AMERICAN CINEMA CINEMA AFRICAN-AMERICAN CINEMA The history of the African-American Cinema is a harsh timeline of racism, repression and struggle contrasted with film scenes of boundless joy, hope and artistic spirit. Until recently, the study of the "separate cinema" (a phrase used by historians John Kisch and Edward Mapp to describe the segregation of the mainstream, Hollywood film community) was limited, if not totally ignored, by writers and researchers. The uphill battle by black filmmakers and performers, to achieve acceptance and respect, was an ugly blot on the pages of film history. Upon winning his Best Actor Oscar for LILLIES OF THE FIELD (1963), Sidney Poitier accepted, on behalf of the countless unsung African-American artists, by acknowledging the "long journey to this moment." This emotional, heartbreaking and inspiring journey is vividly illustrated by the latest acquisition to the Belknap Collection for the Performing Arts - THE AFRICAN-AMERICAN CINEMA COLLECTION. The valuable research material, housed in this collection, includes over 300 pressbooks (illustrated campaign and advertising catalogs sent to theatre owners), press kits (media packages including biographies, promotional essays and illustrations), programs and over 1000 photographs and slides. The journey begins with the blatant racism of D.W. Griffith's THE BIRTH OF A NATION (1915), a film respected as an epic milestone, but reviled as the blueprint for black film stereotypes that would appear throughout the 20th century. Researchers will follow African-American films through an extended period of stereotypical casting (SONG OF THE SOUTH, 1946) and will be dazzled by the glorious "All-Negro" musicals such as STORMY WEATHER (1943), ST.LOUIS BLUES (1958) and PORGY AND BESS (1959).
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Bell Hooks: Cultural Criticism and Transformation [Transcript]
MEDIA EDUCATION FOUNDATIONChallenging media TRANSCRIPT BELL HOOKS CULTURAL CRITISICM & TRANSFORMATION BELL HOOKS—CULTURAL CRITISICM & TRANSFORMATION Produced & Directed by Sut Jhally Edited by: Mary Patierno, Sut Jhally & Harriet Hirshorn Editing & Production Assistance by: Sanjay Talreja Featuring an interview with bell hooks, Distinguished Professor of English at City College of New York. One of America’s most accessible public intellectuals, she is the author of fourteen books of commentary, criticism, & autobiography. Media Education Foundation © MEF 1997 2 PART ONE – On Cultural Criticism WHY STUDY POPULAR CULTURE? BELL HOOKS: The book that I've written that most try to talk to frame my concern with popular culture to a more general audience is the collection of essays Outlaw Culture. And in the beginning of that book what I say is that students from different class backgrounds and ethnicities would come to my classes and I would want them to read all this meta-linguistic theory of difference and otherness and they would say, 'well what does this have to do with our lives?' I found continually that if I took a movie and said, "Well did you go see this movie? And how do you think about it?" and I related something very concrete in popular culture to the kind of theoretical paradigms that I was trying to share with them through various work, people seem to grasp it more and not only that, it would seem to be much more exciting and much more interesting for everybody. Because popular culture has that power in everyday life. [Movie: Forrest Gump] My momma always said life was like a box of chocolates.
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DO the RIGHT THING (1989) 120 Min
November 28, 2006 XIII: 13 DO THE RIGHT THING (1989) 120 min Produced, Written and Directed by Spike Lee Cinematography by Ernest R. Dickerson Film Editing by Barry Alexander Brown Bill Lee...conductor: The Natural Spiritual Orchestra Branford Marsalis... tenor and soprano saxophone, The Natural Spiritual Orchestra Rosie Perez...choreographer Ossie Davis...Da Mayor Danny Aiello...Sal Giancarlo Esposito...Buggin Out Richard Edson...Vito Spike Lee...Mookie Ruby Dee...Mother Sister Bill Nunn...Radio Raheem John Turturro...Pino Paul Benjamin...ML Rosie Perez...Tina Robin Harris...Sweet Dick Willie Frankie Faison...Coconut Sid SPIKE LEE (20 March 1957, Atlanta, Georgia) has directed Steve White...Ahmad 42 theatrical and tv films, the most recent of which is the Leonard L. Thomas...Punchy HBO documentary on the New Orleans Katrina disaster, Samuel L. Jackson...Mister Señor Love Daddy "When the Levees Broke: A Requiem in Four Acts" Joie Lee...Jade (2006). Some of the others are “Sucker Free City” (2004), Miguel Sandoval...Officer Ponte She Hate Me (2004), 25th Hour (2002), Come Rain or Rick Aiello...Officer Long Come Shine (2001), Bamboozled (2000), The Original Martin Lawrence...Cee Kings of Comedy (2000), Summer of Sam (1999), He Got Roger Guenveur Smith...Smiley Game (1998), 4 Little Girls (1997), Get on the Bus (1996), John Savage...Clifton Clockers (1995), Crooklyn (1994), Malcolm X (1992), Christa Rivers...Ella Jungle Fever (1991), Mo' Better Blues (1990), Do the Frank Vincent...Charlie Right Thing (1989), School Daze (1988), She's Gotta Have Luis Ramos...Stevie It (1986) Richard Habersham...Eddie Joe's Bed-Stuy Barbershop: We Cut Heads (1983), Sarah Gwen McGee...Louise (1981), The Answer (1980) and Last Hustle in Brooklyn (1977).
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Curso 2017-2018 Spike
UNIVERSIDAD DE VALLADOLID FACULTAD DE CIENCIAS SOCIALES JURÍDICAS Y DE LA COMUNICACIÓN GRADO EN PUBLICIDAD Y RELACIONES PÚBLICAS CURSO 2017-2018 SPIKE LEE: UNA MIRADA CRÍTICA AL RACISMO EN ESTADOS UNIDOS. UN PRIMER ANÁLISIS. (Historia Contemporánea) Alumno: Ricardo Virseda dos Santos Tutor: Mariano González Clavero Segovia, a 2 de julio de 2018 RESUMEN Las siguientes páginas del presente trabajo, configuran una investigación sobre la transcendencia del director cinematográfico Spike Lee, como hábil comunicador, de uno de los problemas más graves que atañan a la sociedad estadounidense, y por ende, al resto de la población mundial: el racismo. A través del repaso biográfico del director, el contexto histórico, tanto de sus obras como de su vida y las características de sus producciones cinematográficas, se realiza un profundo análisis de algunas de sus películas más transcendentes, haciendo hincapié en los perfiles de sus personajes, las tramas y estereotipos que desarrollan, entre otros puntos de interés y comparando con la situación histórica actual, para lograr los objetivos expuestos en este trabajo: dar una visión de la evolución del problema racial a través de la obra de este autor. Palabras clave: Spike lee, racismo, Estados Unidos, cine, películas, historia, contemporánea. ABSTRACT The following pages of the present work, form an in vestigation on the transcendence of the cinematographic director Spike Lee, as a skilled communicator, of one of the most serious problems that concern the American society, and therefore, to the rest
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Vimeo Link for ALL of Bruce Jackson's and Diane Christian's Film
April 13, 2021 (42:11) Spike Lee: DO THE RIGHT THING (1989,120 min) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Cast and crew name hyperlinks connect to the individuals’ Wikipedia entries Vimeo link for ALL of Bruce Jackson’s and Diane Christian’s film introductions and post-film discussions in the virtual BFS Vimeo link for our introduction to Do the Right Thing Zoom link for all Spring 2021 BFS Tuesday 7:00 PM post-screening discussions: Meeting ID: 925 3527 4384 Passcode: 820766 Produced, Written and Directed by Spike Lee Cinematography by Ernest R. Dickerson Film Editing by Barry Alexander Brown Music by The Natural Spiritual Orchestra (Bill Lee, conductor; Branford Marsalis, tenor and soprano saxophone) Choreography by Rosie Perez Though widely seen as one of the most important films of 1989, the film was memorably snubbed in the 1990 Spike Lee...Mookie Academy Awards, only garnering nominations for Best Ruby Dee...Mother Sister Actor in a Supporting Role and Best Writing, Screenplay Bill Nunn...Radio Raheem Written Directly for the Screen. It was recognized as a John Turturro...Pino contender for the Palme d’Or at the 1989 Cannes Film Paul Benjamin...ML Festival, however. Selected by the National Film Rosie Perez...Tina Preservation Board for the National Film Registry, 1999 Robin Harris...Sweet Dick Willie Frankie Faison...Coconut Sid Cast Steve White...Ahmad Ossie Davis...Da Mayor Leonard L. Thomas...Punchy Danny Aiello...Sal Samuel L. Jackson...Mister Señor Love Daddy Giancarlo Esposito...Buggin Out Joie Lee...Jade Richard Edson...Vito Miguel Sandoval...Officer Ponte Rick Aiello...Officer Long Lee: DO THE RIGHT THING—2 Martin Lawrence...Cee two Emmy Awards, two Peabody Awards, and the Cannes Roger Guenveur Smith...Smiley Grand Prix.
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Voice and Visibility: How New York City Filmmakers Changed the Narrative of Marginalized Groups on and Off Camera
VOICE AND VISIBILITY: HOW NEW YORK CITY FILMMAKERS CHANGED THE NARRATIVE OF MARGINALIZED GROUPS ON AND OFF CAMERA Commissioned by New York City Mayor’s Office of Media and Entertainment Authors: Erica Stein, Joshua Glick, Noelle Griffis, Michael Gillespie 1 ACKNOWLEDGEMENTS The New York City Mayor’s Office of Media and Entertainment (MOME) would like to thank the authors of this report: Michael Gillespie, Joshua Glick, Noelle Griffis, Cortland Rankin, and Erica Stein, with added thanks to Erica for managing the project. For the interview sec- tion of the report, MOME would like to thank all the filmmakers and industry personnel who took the time to share their thoughts and stories. MOME would also like to thank Michael Kerbel and Brian Meacham of the Yale Film Study Center, Charles Denson of the Coney Is- land History Project, Marie Roberts of Coney Island USA, Rob Leddy of the Coney Island Film Festival, and the Indiana University Black Film Center/Archive. MOME is grateful to Professor Annette Insdorf of Columbia University for her assistance in conceptualizing the report and building the team of authors. Shira Gans, MOME’s Senior Director of Policy and Programs, is the primary editor and project manager for this report, and the following staff members also contributed: Anna Bessendorf, Policy Analyst; Janet Allon, Associate Commissioner, Marketing & Communications; and Kenneth Ebie, Director of External Affair and Deputy General Counsel. Finally, MOME would like to thank the late Susan Christopherson for her generous guidance in shaping and developing our interview question set and interview procedures. The Mayor’s Office and the authors are indebted to Prof.
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