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Cinema of the Civil Rights Movement, Aug 13—28

Cinema of the Civil Rights Movement, Aug 13—28

BAMcinématek presents A Time for Burning: Cinema of the , Aug 13—28

Opens with the premiere of a new 35mm restoration of King: A Filmed Record…Montgomery to Memphis and culminates on the 50th anniversary of the March on Washington

Special guests include D.A. Pennebaker, Madeline Anderson, Jack Willis, William Jersey, and more

The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas.

Brooklyn, NY/Jul 24, 2013—From Tuesday, August 13 through Wednesday, August 28, BAMcinématek presents A Time for Burning: Cinema of the Civil Rights Movement, a 40- series commemorating the 50th anniversary of the March on Washington. The series covers the civil rights movement from the end of World War II to the historic 1963 march and the waves of legislation that passed in the years after. Culled from 28 private film and television archives, collectors, studios, and the New York Public Library, these create a picture of what is often called the heroic era of the movement, with rarely screened documentaries and archival footage alongside classics, revolutionary independent films, agitprop, and incendiary exploitation movies from and Herschell Gordon Lewis.

Opening the series on Tuesday, August 13 is the New York premiere of a new 35mm restoration of King: A Filmed Record...Montgomery to Memphis (1970), a chronicle of the life of Martin Luther King, Jr., from the early days of his civil rights activism to his untimely assassination. released in theaters as a one-night-only event, this documentary, which was produced and compiled by Ely Landau, was subsequently nominated for an Academy Award for Best Documentary Feature and deemed “culturally significant” by the , thus being inducted into the . Featuring narration by luminaries including , , , , , , , , and , King “is fierce, violent, tender, hopeful and…above all, it is a compelling reminder that much remains to be done” (The Washington Post).

While King is a microcosm of the series itself, by blending documentary newsreel footage of King himself with interpretations by Hollywood figures of the day, it is no coincidence that A Time for Burning: Cinema of the Civil Rights Movement traces the history of mid-century documentary filmmaking, from Leo Hurwitz’s attempt to extend the agitprop of the Great Depression and World War II into the postwar era (and his subsequent blacklisting), to George Stoney, James Blue, and Charles Guggenheim’s progressive work within the Information Agency, to . The earliest film in the series, Hurwitz and Paul Strand’s docudrama Native Land (1942—Aug 14) is a harrowing commentary on American labor struggles and the fascism within our own borders. Called “one of the most powerful and disturbing documentary films ever made” (Bosley Crowther, ), it is emblematic of a style of filmmaking that emerged during that turbulent era—one that recurs throughout the series.

At the time, African- had little access to the cinematic tools necessary to tell their own stories. Early attempts to rectify this were the inclusion of African-American singer and activist

Paul Robeson’s narration in the aforementioned Native Land, and legendary documentarian, public access television pioneer, and “prophet for social change at the barrel of a camera” (Paul Vitello, The New York Times), George Stoney’s collaboration with black midwife Mary Francis Hill Coley in the film All My Babies (1952—Aug 20), a glimpse at segregated life in Georgia produced by the state’s department of public health. Babies, along with Stoney’s Palmour Street (1957), screen on archival 16mm prints courtesy of the New York Public Library, and the program features an introduction by library archivists David Callahan and Elena Rossi-Snook.

Many documentaries produced for television, government, and other organizations were often met with surprise and hostility for their radical political perspectives. James Blue’s The March (1964—Aug 28), the quintessential record of the historic day, was produced by the United States Information Agency but did not screen in the US until 20 years later, when it was unearthed for a of Martin Luther King, Jr.’s birthday at Houston’s Rothko Chapel. was commissioned to make a documentary for public television depicting the black middle class, or “good negroes,” but instead crafted a narrative of the black revolution and the changing public consciousness with Still a Brother (1968—Aug 27), which was later nominated for an Emmy Award. William Jersey’s incendiary film A Time for Burning (1966— Aug 21) was sponsored by the Lutheran church and follows a minister’s ill-fated experiment to unite 10 couples from his congregation with 10 from an African-American church in the area. Jersey will appear in person for a Q&A following the screening of this “invaluable snapshot of an all-American place and time caught in the ragged throes of cultural growth” (Michael Atkinson, The Village Voice), showing in a restored 35mm print courtesy of the Academy of Motion Picture Arts and Sciences.

Conversely, some institutions attempted to embrace radicalism. The Kennedy administration gave Drew unprecedented access to the and the homes of Robert F. Kennedy and for Crisis: Behind a Presidential Commitment (1963—Aug 16), which followed the integration crisis at the University of for several days with a rare insider perspective—one of the first landmark examples of Direct Cinema. Crisis screens with The Children Were Watching (1961), Drew’s New Orleans-set school desegregation short, and the program will be followed by a Q&A with D.A. Pennebaker, “a legend in the world of documentary filmmaking…a pioneer in the art of cinéma vérité,” (Melissa Silvestri, Filmmaker Magazine), who collaborated with Drew on Crisis and other works. Pennebaker and many of his peers, including Drew, , Madeline Anderson, and the Maysles brothers, worked in artist communities that revolutionized the form through collaboration, even sharing an office!

William Greaves’ Black Journal—a broadcast news program for African-Americans by African- Americans—was a launching pad for the explosion of black independent filmmaking in the and an essential first job for many black film technicians. A selection of segments screen as part of The Best of Black Journal (Aug 27) program, including Robert Wagoner’s Culture in the South, St. Clair Bourne’s Black , and Anderson’s A Tribute to . Also screening in A Time for Burning is a Madeline Anderson shorts program (Aug 22), also featuring A Tribute to Malcolm X; Integration Report 1, a collection of footage of demonstrations leading up to the first march attempt and shot by the Maysles; and her renowned I Am Somebody (1970), which was commissioned by the Hospital Workers’ Union and documents the plight of 400 Charleston hospital employees (all but 12 were women) who went on strike in 1969.

With greater access from the late onward, many black filmmakers looked back or made films that showed a different perspective of the events that white documentarians had covered. St. Clair Bourne’s Let the Church Say Amen! (1974—Aug 21) examines the church’s role in politics and identity, and ’ The Learning Tree (1969—Aug 18) is a semi-autobiographical account of a teenager’s confrontation with racism in the 1920s—the first Hollywood studio film directed by an African-American filmmaker. This 35mm screening is co-presented by the Warner Archive Collection.

Beyond the world of documentary, the civil rights movement was also reflected in Hollywood studio productions and exploitation films. Where the Hollywood productions espoused progressive and liberal ideas about race, the exploitation titles channeled the era’s social turmoil into low-brow genre motifs. Among the Hollywood films screening in this series are Robert Mulligan’s adaptation of Harper Lee’s

Pulitzer Prize-winning classic To Kill a Mockingbird (1962—Aug 18), which was nominated for eight and won three, including a Best Actor nod for ’s heroic performance as Atticus Finch; ’s (1959—Aug 23), the first to feature a black protagonist (Harry Belafonte), boasting a score by of the Modern Jazz Quartet; and Daniel Petrie’s (1961—Aug 25), a film adaptation of the first play written by a black woman to be produced on Broadway, starring and Ruby Dee. Roger Corman’s The Intruder (1962—Aug 20), also known as I Hate Your Guts! and Shame, stars in one of his first major roles as a racist extremist who incites the townspeople to oppose a school’s integration. The Intruder screens with Charles Guggenheim’s Academy Award-winning short Nine from Little Rock (1964). Finally, godfather of gore Herschell Gordon Lewis’ exploitation nightmare Two Thousand Maniacs! (1964) screens August 24, exposing a “Confederate Brigadoon” where Yankee tourists are lured and forced to engage in increasingly inventive and gruesome activities that lead to their grisly deaths—repayment for the killing of Confederate soldiers in the Civil War.

On Wednesday, August 28—the 50th anniversary of the March on Washington—the series closes with a March on Washington shorts program, featuring four candid portraits of the civil rights movement. Cuban agitprop master Santiago Álvarez’s Now! (1965) is a powerful attack on American discrimination, setting emotional newsreel footage and photographs to the lyrics of the eponymous song, which had been banned in the US for its frank commentary on civil rights. Also screening are Haskell Wexler’s The Bus (1965), in which the radical filmmaker travels to the march with a delegation; James Blue’s The March (1964), which concludes with the iconic “” speech; and Ed Emshwiller’s Freedom March (1963), a rare color snapshot of the march filmed from the crowd’s perspective.

For press information, please contact Lisa Thomas at 718.724.8023 / [email protected] Gabriele Caroti at 718.724.8024 / [email protected]

A Time for Burning Schedule

Tue, Aug 13 7:30pm: King: a Filmed Record...Montgomery to Memphis

Wed, Aug 14 7, 9:30pm: Native Land

Thu, Aug 15 7pm: The Streets of Greenwood + Lay My Burden Down Q&A with Jack Willis 4:30, 9:30pm: Portrait of Jason

Fri, Aug 16 2, 4:30, 9:45pm: Portrait of Jason 7pm: Crisis: Behind a Presidential Commitment + The Children Were Watching Q&A with D.A. Pennebaker

Sun, Aug 18 2, 4:30, 9:30pm: To Kill a Mockingbird 7pm: The Learning Tree

Mon, Aug 19 7pm: My Childhood Part 2: ’s + Baldwin’s Nigger 9:30pm: I Heard It Through the Grapevine

Tue, Aug 20 7pm: All My Babies + Palmour Street

Intro by New York Public Library archivists David Callahan and Elena Rossi-Snook 9:30pm: The Intruder + Nine from Little Rock

Wed, Aug 21 7pm: A Time for Burning Q&A with William Jersey 9:30pm: Let the Church Say Amen!

Thu, Aug 22 7pm: Madeline Anderson Shorts Program (Integration Report 1 + A Tribute to Malcolm X + I Am Somebody) Q&A with Madeline Anderson 9:30pm: + American Revolution 2

Fri, Aug 23 2, 4:30, 9:30pm: Odds Against Tomorrow 7pm: An Interview with Bruce Gordon + The Streets of Greenwood + Black Natchez

Sat, Aug 24 2, 4:30, 7pm: Nothing But a Man 9:30pm: Two Thousand Maniacs!

Sun, Aug 25 2, 4:30, 9:45pm: A Raisin in the Sun

Tue, Aug 27 7pm: Still a Brother 4:30, 9:30pm: The Best of Black Journal program (Culture in the South + Black Dance + Modern & African Dance + Black Beauties & Hairstyles + A Tribute to Malcolm X)

Wed, Aug 28 7, 9:30pm: March on Washington Program (Now! + The Bus + The March + Freedom March)

Film Descriptions

All My Babies (1952) 54min Dir. George Stoney. A rare look at the living conditions, both good and bad, in the rural segregated South. Legendary documentarian George Stoney wrote, produced, and directed this film in collaboration with midwife Mary Francis Hill Coley, whose patient, professional care and concern imbue every scene. + Palmour Street (1957) 23min A portrait of everyday aspects of mental health in an African-American community in Gainesville, GAGA. Tue, Aug 20 at 7pm *Intro by New York Public Library archivists David Callahan and Elena Rossi- Snook

The Best of Black Journal (1968-1970) 55min Covering the civil rights movement was a catalyst for a paradigm shift in documentary filmmaking and broadcast news, but even in the most progressive corners, African-American filmmakers and journalists were excluded from telling their own stories on film. William Greaves’ Emmy-winning news program Black Journal provided the first platform to challenge that inexcusable omission. Working with a predominantly African-American crew, Black Journal was an incubator for many of the independent filmmakers that emerged in the next decade. This program includes Culture in the South (Robert Wagoner), Black Dance (St. Clair Bourne), Modern & African Dance (Kent Garrett), Black Beauties & Hairstyles (Horace Jenkins), and A Tribute to Malcolm X (Madeline Anderson). Tue, Aug 27 at 4:30, 9:30pm

Black Natchez (1965) 62min Dir Edward Pincus. “All sorts of rules were being created in —no script, no narration, no interviews, no lighting, no mic boom, no collusion between subject and filmmaker.” In the second year of intensive voter registration drives in , Ed Pincus headed to an especially inhospitable corner of the state and started filming. A car bombing of a civil rights leader sends the activists into a tailspin, exposing the growing rifts within the movement. + An Interview with Bruce Gordon (1964) 17min Bruce Gordon, a 22-year-old organizer for the Student Non-violent Coordinating Committee, is interviewed in Selma, AL, during the height of a drive to register Negro voters. + The Streets of Greenwood (1963) 20min Dir. by Jack Willis, Fred Wardenburg, and John Reavis. Featuring a performance by a young , The Streets of Greenwood is one of the most iconic documentaries of its era, capturing the heroic efforts and boundless energy of the Freedom Riders as they rallied to register voters in Greenwood, MS. Fri, Aug 23 at 7pm

Crisis: Behind a Presidential Commitment (1963) 55min Dir. . Given unprecedented access to both the Oval Office and George Wallace’s inner circle, this early work of direct cinema captures the human details of a drama deeply affecting the country, the civil rights movement, and the presidency. + The Children Were Watching (1961) 31min Dir. Robert Drew. A harrowing portrait of school desegregation in New Orleans against the violent protests of white parents. Fri, Aug 16 at 7pm Q&A with D.A. Pennebaker

The Cry of Jazz (1959) 34min Dir. Edward Bland A harbinger of the racial unrest that would engulf , The Cry of Jazz pairs performances by musicians like and John Gilmore with interviews with artists and intellectuals speaking about appreciating, creating, and understanding jazz. The film was so controversial when it came out that Ralph Ellison denounced it as being offensive and the discussion after its premiere in New York was so heated that the police needed to be called. Bland said he was dubbed a “madman... black racist.” + American Revolution 2 (1969) 76min Dir. Howard Alk A documentary by Chicago’s legendary Film Group about the unlikely alliance of the Black Panthers and a white group called the Young Patriots in the aftermath of the 1968 Chicago Riots. Thu, Aug 22 at 9:30pm

I Heard It Through the Grapevine (1982) 82min Dirs. Dick Fontaine & Pat Hartley. A personal essay film written by James Baldwin and directed by celebrated director Dick Fontaine, I Heard It Through the Grapevine travels to the sites of the civil rights struggle 20 years later, seeing what’s changed and what’s remained the same. Featuring Amiri Baraka and Chinua Achebe. Mon, Aug 19 at 9:30pm

The Intruder (1962) 84min Dir. Roger Corman. With William Shatner, Frank Maxwell, Beverly Lunsford, Robert Emhardt, .

Turning the narrative of outside activists forcing their liberal politics on the South upside down, The Intruder tells the story of a race-baiting agitator who descends on a small town and tries to sabotage the local schools’ impending integration. The film stars a pre-Captain Kirk William Shatner as one of the ugliest bigots ever to light up the silver screen and was famous for being the only Roger Corman movie that failed to make a profit, though he still regards it as one of his best. + Nine from Little Rock (1964) 20min Dir. Charles Guggenheim. Guggenheim’s Academy Award-winning short about militia-enforced school desegregation in Little Rock, AR. Tue, Aug 20 at 9:30pm

King: A Filmed Record...Montgomery to Memphis (1970) 180min Prod. Ely Landau. Originally released as a one-night-only presentation, King: A Filmed Record pairs archival footage of King’s rise from regional activist to world-renowned civil rights leader with dramatic readings by many of the people he inspired, including Harry Belafonte, Ruby Dee, and Paul Newman. New York premiere of new 35mm restoration! Tue, Aug 13 at 7:30pm

The Learning Tree (1969) 107min Dir. Gordon Parks. With Kyle Johnson, Alex Clarke, . The first Hollywood studio film directed by an African-American, Parks’ adaptation of his own semi- autobiographical novel chronicles a teenager’s experience of racism in 1920s rural . Upon the film’s release, The New York Times raved, “The restraint, the composure, the sufficiency of the sentimental gesture constitute a small gift for memory and a real victory in the first stages of this filmmaker's career.” Co-presented by Warner Archive Collection. Sun, Aug 18 at 7pm

Let the Church Say Amen! (1974) 78min Dir. St. Clair Bourne. “I know I want to be a minister and I know I got to be black.” Made by one of the leading lights of the black movement, Let the Church Say Amen! follows a young pastor on a tour of congregations, as he tries to find a spiritual path that appeals to him, from old-fashioned rural preachers inspiring congregants to “get the spirit,” to ministers who work as community activists, to the challenge of black Muslims. Wed, Aug 21 at 9:30pm

Madeline Anderson Shorts In an era when only white men had access to equipment and airwaves to report the news, Madeline Anderson was a trailblazer. Working with many of the most famous documentarians of the era, Anderson created an incredible body of work, including: Integration Report 1 (1960), which was shot by the Maysles brothers and and captures the marches, sit-ins, rallies, and boycotts in the months leading up to the first attempt at a March on Washington; A Tribute to Malcolm X (1967), made for William Greaves’ Black Journal; and Anderson’s signature film I Am Somebody (1970), which documents the struggle of 400 black hospital workers in Charleston, SC, who went on strike and demanded a fair wage increase. Thu, Aug 22 at 7pm Q&A with Madeline Anderson

March on Washington Program Now! (1965) 5min Dir. Santiago Álvarez. The Cuban agitprop master’s found-footage indictment of American hypocrisy and violence. + The Bus (1965) 62min Dir. Haskell Wexler.

Fifty years ago, a bus full of activists from arrived in Washington, DC, to take part in what would become one of the most iconic events in American history. Celebrated radical filmmaker Haskell Wexler traveled with this delegation, creating a candid portrait of the moment. + The March (1964) 33min Dir. James Blue The quintessential document of the day itself, culminating in the “I Have a Dream” speech. + Freedom March (1963) 9min Dir. Ed Emshwiller. A rare color document of the march by avant-garde director Emshwiller. Wed, Aug 28 at 7, 9:30pm

My Childhood Part 2: James Baldwin’s Harlem (1964) 30min Dir. Arthur Barron. Baldwin narrates a tour of Harlem, chronicling how the neighborhood shaped his identity and his political and moral coming of age. + Baldwin’s Nigger (1968) 46min Dir. Horace Ové. James Baldwin and comedian-activist Dick Gregory speak to a group of radical West Indian students about everything from the current state of the movement to the perils of false consciousness. Mon, Aug 19 at 7pm

Native Land (1942) 80min Dirs. Leo Hurwitz & Paul Strand. Emboldened by the agitprop that united during World War II, leftist filmmaker Leo Hurwitz and avant-gardist Paul Strand teamed up with to present this searing look at the creeping fascism within our own borders that we had yet to fight at war’s end. 35mm restored print courtesy of the UCLA Film & Television Archive. Wed, Aug 14 at 7, 9:30pm

Nothing But a Man (1964) 95min Dir. . With , , Julius Harris, Gloria Foster, Leonard Parker, Yaphet Kotto. “Baby I feel so free inside.” Shot during the tumultuous summer of 1963—the summer of ’ assassination, George Wallace at the , and the March on Washington—Nothing But a Man follows working man Duff Anderson, whose growing radicalism threatens his closest relationships. According to film historian Donald Bogle, “No other American film has yet treated a black male/female relationship with as much sensitivity. Watching Dixon and Lincoln come to terms with one another and their own lives, we realize, more than ever, how much of the black experience has been ignored or evaded by the American commercial film.” Features a powerful performance by jazz legend Abbey Lincoln. Sat, Aug 24 at 2, 4:30, 7pm

Odds Against Tomorrow (1959) 96min Dir. Robert Wise. With Harry Belafonte, , , Ed Begley, . The first film noir to feature a black protagonist, this “sharp, hard, suspenseful” caper (The New York Times) boasts a great jazz score by John Lewis of the Modern Jazz Quartet. Starring Harry Belafonte as Johnny Ingram, a nightclub entertainer who is addicted to gambling and gets involved with a bank robbery, it was the first movie to be both directed and produced by Robert Wise and was cutting edge for its portrayal of racial prejudice. Fri, Aug 23 at 2, 4:30, 9:30pm

Portrait of Jason (1967) 105min Dir. Shirley Clarke.

In one of the simplest and most radical documentaries ever made, raconteur, hustler, singer, and man about town Jason Holliday holds court in front of Shirley Clarke’s camera for nearly two hours. In a mix of confession, fabrication, plea for pity, and act of defiance, Jason describes the inner and outer life of a gay black drifter making his way in mid-century America. Thu, Aug 15 at 4:30, 9:30pm & Fri, Aug 16 at 2, 4:30, 9:45pm

A Raisin in the Sun (1961) 128min Dir. Daniel Petrie. With Sidney Poitier, Ruby Dee, Claudia McNeil, , Roy Glenn. A moving tale of a black family’s financial struggles on Chicago’s South Side, this film adapts ’s masterpiece, which was the first play by a black female writer ever to be produced on Broadway. The powerhouse ensemble cast includes Sidney Poitier as a young chauffeur who desperately wants to get ahead in the world and Ruby Dee as his wife who struggles to make ends meet for the family. Sun, Aug 25 at 2, 4:30, 7, 9:45pm

Still a Brother (1968) 88min Dir. William Greaves. Commissioned to make a documentary about “good negroes” for public television during a time of growing unrest, Greaves bucked the assignment to deliver this investigation of the mental revolution that was transforming the consciousness of black people of all classes. One of the most essential underseen films of all time, Greaves offers a portrait of the many faces of empowerment. Tue, Aug 27 at 7pm

The Streets of Greenwood (1963) 20min Dir. Jack Willis, Fred Wardenburg, and John Reavis. Featuring a performance by a young Bob Dylan, The Streets of Greenwood is one of the most iconic documentaries of its era, capturing the heroic efforts and boundless energy of the Freedom Riders as they rallied to register voters in Greenwood, MS. + Lay My Burden Down (1966) 58min Dir. Jack Willis. A few years after filming The Streets of Greenwood, Willis returned to Mississippi to shoot Lay My Burden Down, a documentary about the first election after the passage of the Voting Rights Act in rural sharecropping communities. Willis asserts what the Supreme Court denied: it isn’t enough to declare rights; they must be protected. Thu, Aug 15 at 7pm Q&A with Jack Willis

A Time for Burning (1966) 56min Dir. William Jersey. Inspired by the advances of the era, Lutheran minister Rev. Bill Youngdhal attempted a modest experiment in his church: asking 10 couples from his congregation to meet with 10 couples from the African-American Lutheran congregation across town. A scandal erupts and within weeks he is forced to resign. Restored 35mm print! Presented in collaboration with the Academy of Motion Picture Arts and Sciences. Wed, Aug 21 at 7pm Q&A with William Jersey

To Kill a Mockingbird (1962) 129min Dir. Robert Mulligan. With Gregory Peck, , Frank Overton, , . This classic screen adaptation of Harper Lee’s -winning novel—one of the most widely read books of the —stars Gregory Peck in an Academy Award-winning performance as Atticus Finch, a white lawyer who defends a black man wrongfully accused of rape. Seen through the eyes of the young tomboy Scout, this courtroom drama becomes a childhood lesson in good, evil, and the pitfalls of justice in a small Southern town. The film features the screen debut of a young Robert Duvall as the town pariah Boo Radley. Sun, Aug 18 at 2, 4:30, 9:30pm

Two Thousand Maniacs! (1964) 87min Dir. Herschell Gordon Lewis. With Connie Mason, William Kerwin, Jeffrey Allen, Shelby Livingston. At the height of national tension over the civil rights movement, the godfather of gore released a movie of questionable taste and strong conviction that exposed the growing hostility between North and South like a raw nerve. A “Confederate Brigadoon” emerges 100 years after being massacred by Union soldiers and gears up to torture and kill any Yankees that happen to ride through town. Sat, Aug 24 at 9:30pm

About BAMcinématek The four-screen BAM Rose Cinemas (BRC) opened in 1998 to offer Brooklyn audiences alternative and independent films that might not play in the borough otherwise, making BAM the only performing arts center in the country with two mainstage theaters and a multiplex cinema. In July 1999, beginning with a series celebrating the work of , BAMcinématek was born as Brooklyn’s only daily, year-round repertory film program. BAMcinématek presents new and rarely seen contemporary films, classics, work by local artists, and festivals of films from around the world, often with special appearances by directors, actors, and other guests. BAMcinématek has not only presented major retrospectives by major filmmakers such as Antonioni, , Shohei Imamura, (winning a National Film Critics’ Circle Award prize for the retrospective), Kaneto Shindo, , and , but it has also introduced New York audiences to contemporary artists such as Pedro Costa and Apichatpong Weerasethakul. In addition, BAMcinématek programmed the first US retrospectives of directors Arnaud Desplechin, Nicolas Winding Refn, Hong Sang-soo, and, most recently, Andrzej Zulawski. From 2006 to 2008, BAMcinématek partnered with the Sundance Institute and in June 2009 launched BAMcinemaFest, a 16-day festival of new independent films and repertory favorites with 15 NY feature film premieres; the fifth annual BAMcinemaFest ran from June 19—28, 2013.

Credits

The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek.

Steinberg Screen at the BAM Harvey Theater is made possible by The Joseph S. and Diane H. Steinberg Charitable Trust.

Pepsi is the official beverage of BAM.

Brooklyn Brewery is the preferred beer of BAMcinématek.

BAM Rose Cinemas are named in recognition of a major gift in honor of Jonathan F.P. and Diana Calthorpe Rose. BAM Rose Cinemas would also like to acknowledge the generous support of The Peter Jay Sharp Foundation, The Estate of Richard B. Fisher, Brooklyn Borough President Markowitz, Brooklyn Delegation of the Council, New York City Department of Cultural Affairs, New York State Council on the Arts, Bloomberg, and Time Warner Inc. Additional support for BAMcinématek is provided by the Coolidge Corner Theatre Foundation, The Grodzins Fund, The Liman Foundation and Summit Rock Advisors.

Special thanks: All My Babies, Palmour Street, An Interview with Bruce Gordon, Still a Brother, and My Childhood courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts; I Am Somebody has been preserved by the Reserve Film and Video Collection of The New York Public Library for the Performing Arts, with funding from the Carnegie Corporation of New York; A Time for Burning is presented in collaboration with the Academy of Motion Picture Arts and Sciences; The Learning Tree is co-presented by the Warner Archive Collection.

Additional thanks to: Gary Palmucci/Kino Lorber; Todd Wiener & Steven Hill/UCLA Film & Television Archive; Elena Rossi-Snook & David Callahan/NYPL; Jill & Robert Drew/Drew Associates; Jack Willis; John Klacsmann, Erik Piil & Andrew Lampert/ Archives; Scott Moffett/Cosmic Hex; Gugulethu oka Mseleku & Dick Fontaine/ Be- Bop; Livia Bloom & Colin Beckett/Icarus Films; Gerard O’Grady; Louise & William Greaves; Mary Batten Bland & Matt Rogers; Madeline Anderson; Abbey Rose/Facets; Nancy Watrous/Chicago Film Archives; Jake Perlin/Cinema Conservancy; Skip Elsheimer/A/V Geeks; Paul Montney/NBC News; Judi Hampton/Blackside Productions; Tanja Horstmann/Arsenal; Julie Valdés Alvarez/ ICAIC; Julia Perciasepe/DER; Rick Prelinger; Andy Ditzler; Brian Graney/Black Film Center; Chris Chouinard/Park Circus; Amy Heller-Doros/Milestone; Paul Ginsburg/Universal; Matt Patterson/Warner Archive Collection; Linda Evans-Smith/Warner Brothers Repertory; Andrew Youdell/; Indra Ové; Patrick Harrison/Academy of Motion Picture Arts and Sciences; May Haduong/; William Jersey; Mark Johnson/Harvard Film Archive; Chris Lane & Michael Horne/Sony Pictures Repertory;

Brian Quinn/Grindhouse Film Festival; Daniel Rooney/National Archives and Records Administration; Haskell Wexler; Grace Guggenheim.

General Information

Tickets: General Admission: $13 BAM Cinema Club Members: $8, BAM Cinema Club Movie Moguls: Free Seniors & Students (25 and under with a valid ID, Mon—Thu): $9 Bargain matinees (Mon—Thu before 5pm & Fri—Sun before 3pm, no holidays): $9

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