PHASE COMBATIVE THE May 25, 6–June 2017 The Combative Phase takes its title from an essay by Teshome Gabriel as ‘speaking for,’ as in , and representation as ‘representation,’ as in The university and the cinema are not dissimilar institutions. They make 23 titled “Towards a Critical Theory of Third art or philosophy.” 23 comparable claims to be spaces of revelation and of enlightenment. In 19 Teshome Gabriel, “Towards Gayatri Chakravorty Spivak, World .”19 This text draws on the writing a Critical Theory of Third World “Can the Subaltern Speak?” 1969, a pivotal year for this exhibition, Noël Burch coined the unwieldy Films,” Questions of Third Cinema, Colonial Discourse and Post-Colonial of Frantz Fanon on decolonization, and ed. Jim Pines and Paul Willemen The temporal, spatial, and socio-political Theory: A Reader, eds. Patrick term “institutional mode of representation (IMR)” to characterize the Williams and Laura Chrisman (London: BFI, 1989), 298–316. 1 proposes a “genealogy of Third World frame of the university—and particularly, (New York: Columbia University dominant standard of totalizing illusionistic representation in cinema. Press, 1994), 70. culture” on a path from “domination to liberation.” Gabriel identifies three its attendant conditions of access to IMR might equally be applied to the 1 Noël Burch, Praxis du Cinéma, phases in this genealogy: firstly, a phase of “unqualified assimilation” in education and means of production—unifies the films exhibited. More figure of the modern university. Both (Paris: Gallimard, 1969). which “foreign images are impressed in an alienating fashion on the significantly, however, the filmmakers engaged in decentering the institutions are machines of sorts, producing and reproducing “social audience”; to the second “remembrance phase” in which filmmakers disciplining grounds of knowledge and representation embodied by the reality” through perceptual and cognitive processes, underpinned by return to “the Third World’s source of strength: culture and history”; and university, and by Hollywood cinema and the mass media. Describing cultural, economic, and political structures. They are simultaneously the third, “combative phase,” where serves as “public service her experience of the Ethno-communications program, Sylvia Morales machines of enregistration and of disenfranchisement. They harbor institution…managed, operated and run by and for the people.” In this has stated that: “for us there was a sense of urgency, so we set aside our auto-critique, but in the wake of this distancing comes privatization, not phase, film is focused on the “lives and struggles of Third World peoples,” desire to make personal films in order to make ones which reflected our talks. information and on screenings websiteCheck for YU collectivity. In borrowing (and adapting) the thought of Stefano Harney 24 operating as an ideological tool in contestation of and distinction from communities.” Echoing this sentiment, Haile 24 In Renee Tajima, “Lights, and Fred Moten, we might state that: “it cannot be denied that the Camera, Affirmative Action,” character driven Western cinema. Gerima has written of a “triangular cinema” university [cinema] is a place of refuge, and it cannot be accepted that The Independent: Film and Video formed of progressive relationships between Monthly, March 1984, 16. the university [cinema] is a place of enlightenment. In the face of these The Combative Phase presents films produced by those who studied in, or a community of audiences, filmmakers, and activist critics, producing conditions one can only sneak into the university [cinema] and steal were associated with, the Media Urban Crisis and Ethno-communications a “rational, pedagogical alternative that seeks to meet the particular what one can.”2 2 Stefano Harney and Fred 25 25 Moten, The Undercommons: programs, as well as students on the “mainstream” undergraduate and needs of the community.” This imperative Haile Gerima, “Triangular Fugitive Planning and Black Study, Cinema, Breaking Toys, and (Wivenhoe/New York/Port graduate programs who engaged directly with the teaching of Taylor towards a counter, combative cinema formed Dinknesh vs Lucy,” Questions of The Combative Phase presents the work Watson: Minor Compositions, Third Cinema, ed. Jim Pines and and Gabriel between 1969 and 1979. The exhibition also foregrounds by and at the service of the filmmakers’ of a group of filmmakers with connections 2013), 26. Paul Willemen (London: BFI, the figure of the university itself, as constituting a particular set of social, communities—ingrained in the foundational 1989), 88. to the Media Urban Crisis and Ethno-communications programs, which racial, and economic relations. In presenting administrative and academic vision of Taylor and his student colleagues on the Media Urban Crisis ran between 1969 and 1973 at the University of California documents from the period when the programs were established, the Committee—is distinctively apparent in the varied films produced. (UCLA). Included are films by Don Amis, Charles Burnett, Ben Caldwell, imperatives behind individual and collective decisions, and interactions Larry Clark, Julie Dash, David García and , Haile between material conditions and social and institutional practices, are The films exhibited move between forms of documentary reportage members. our and Art, for Works RACC Foundation, Warhol Andy The by part in funded is program This Wildman. Sam and Vahdani, Krupa Francia Renate Taylor, Ruff, Morgen Rowland, Cameron Robbins, Gary Richwine, Holly Richardson, Kent Quigley, Lucas Project, Cinema Phuong, Brandon Osawa, Sandra McCullough, Barbara Mackey, Rose Lerner, Jay, Jesse Keenan Ferrer, Abraham Ferm, Mia Diab, Sarah Conlon, Meghan Caldwell, Ben Anderson, Thom Amis, Don Tom Ackers, thank to like would Union Yale Gerima, Alan Kondo, Alile Sharon Larkin, Barbara McCullough, Sylvia made partially legible. As Cheryl Harris asserts “Formal equality overlooks and its transmission of history, the scripted construction of vignettes Morales, Robert Nakamura, Sandra Osawa, Elyseo J. Taylor, Jesús structural disadvantage and requires mere nondiscrimination or ‘equal of social realism, and poetic imaginaries. In many cases they were Salvador Treviño, , and Eddie Wong. treatment’; by contrast, affirmative action calls for equalizing treatment located in direct discussion with and advocacy for particular seams of by redistributing power and resources in order to rectify inequities and to political, cultural, and social activism, with both radical and reformist The Combative Phase attends to a history, but with the understanding 20 achieve real equality.” The affirmative action 20 Cheryl Harris, “Whiteness as goals, bearing the distinct dynamics of post-Civil Rights era African that the discursive and material operations active in this history are not Property,” Harvard Law Review, mandate, as a potential mode of “distributive Vol. 106, No. 8, June 1993, 1788. American, Mexican American, Asian American, and Native American finite or detached from present day experience.The Combative Phase 21 justice,” is apparent as a contested and 21 Cheryl Harris, “Whiteness as struggles. What is also clear however, is the complexity and mutability proceeds in two parts, beginning with an exhibition of short films and imminently foreclosed site within the Property,” 1781. of the representational relationship to “community,” and the movement documents running from May 6 to June 25, 2017, and continuing with a educational and juridical spheres. As scholar and activist Ruth Wilson between the address of localized issues and the international struggle protracted and evolving series of screenings and talks running from May Gilmore has noted, “…if agency is the human ability to craft opportunity against systemic neo-colonial and capitalist at the heart of 2017 into 2018. from the wherewithal of everyday life, then agency and structure are the ideological character of Third Cinema. The films speak to complex products of each other. Without their mutual interaction, there would be transitions between social spaces of protest, the mobilization of cultural no drama, no dynamic, no story to tell…In a crisis, the old order does identities in tandem with revolutionary Marxist politics, and the ahistorical Stewart. Jacqueline and Kelley, Shannon Horak, Jan-Christopher Field, Nadia Allyson by 1945–1980 L.A. in Art Time: Standard Pacific of part as developed Archive & Film UCLA Cinema Black a New Creating Rebellion: L.A. of part as undertaken preservation film and research the and Films; Milestone and Movies, Women Make & Café, Books Video Sankofa Communications, Visual Archive, & Television Film UCLA from loans Horak; Christopher Jan- and Stewart, Najuma Jacqueline Field, Nadia Allyson Keeling, Kara Tajima-Peña, Renee Masilela, Ntongela James, E. David Noriega, Chon Gabriel, of Teshome scholarship the filmmakers; the of support the without possible be not would Phase Combative The not simply blow away, and every struggle is carried out within, and logic of cultural nationalisms. In this regard they mirror the emergent against, already existing institutions: electoral politics, the international nature of vital ideological debates around the structuring of identity- capitalist system, families, uneven development, .”22 In distinctive based counterhegemonic struggles, which in the U.S. in the late ’60s into yet interconnected ways, the films and the ’70s spanned heterogeneous efforts toward rights-based equality, 22 Ruth Wilson Gilmore, Golden documents reflect the intersection of a politics Gulag: Prisons, Surplus, Crisis, the identification of cultural narratives that elided difference in order to and Opposition in Globalizing UNION YALE of visibility exercised through institutional California, (Berkeley: University of “imagine” a unified polity, and nationalist and separatist movements that California Press, 2007), 28. reform, and the demand for revolutionary in some cases promoted armed struggle. The desire for autonomy of

change in the face of the durable political and material stratifications of production, communication, and representation, as well as independence by , a project , and curated curated , and racial capitalism. In the relations between these materials, we are called from an oppressive socio-economic system, interweaves with a demand to consider the shifting distinctions between what is highlighted by Gayatri for broad political and cultural visibility, and social change. Chakravorty Spivak as the “two senses of representation… representation In the wake of the Watts Rebellion of 1965 and other uprisings against they pertained to all levels of education, the development of the HPP a film-training program for “minority” students, and accordingly the In Fall 1970, the Media Urban Crisis program was renamed Ethno- institutional racism, discrimination, and police brutality in inner cities instead focused on a curriculum that identified “negative self-concept” MUCC’s focus shifted to the development of “a curriculum of instruction communications, formally existing under the umbrella of the TV and across the U.S., UCLA saw a series of structural shifts in response as the cause of “the serious educational lag of both the Afro-American in film-making for students from the ethnic minorities which would Motion Pictures Division of the Theater Arts Department at UCLA. to what became defined within academic and child.”9 Within this particular enable and encourage them to use film-making as a tool in community Remaining open only to students of color, the program included 3 In May 1968, newly appointed 9 Barbara A. Rhodes, “UCLA 12 and political discourse as “the urban President Charles Hitch presented application of the overarching principle of High Potential Program development.” With funding from the Ford 12 Elyseo J. Taylor, “Mass technical and writing classes, a film history course focused on films 1968–1969,” 14–21. 3 a paper to the UCLA Board of Media and the Social Dialogue,” crisis.” These shifts took shape through Regents titled “What Must We affirmative action lay a struggle between Foundation that enabled the purchase of unpublished paper delivered from Africa, Asia, and Latin America, and a production component that Do: The University and the Urban on September 20, 1976 at the intersecting but distinct forces, most Crisis.” The UCLA staff bulletin at such implicit casting of psychological deficiency in both individuals and 8mm and 16mm cameras, tape recorders conference “The Role of the adopted the “Project One” format from the , with each student the time reported Hitch as saying: Mass Media in Enlisting Public notably: the committed dissent by members “we need to be blunt and direct. communities (and hence the perceived need to rectify this deficiency by and other equipment, and from UCLA Support for Marginal Groups,” directing a short film with support from their peers. In this intended of the student body against discriminatory Our nation, our state and our cities “preparing [students] for successful matriculation”), and the challenging towards the cost of raw film stock and The European Centre for Social form, the Ethno-communications program lasted no more than three are in the grip of a crisis. It is a Welfare Training and Research, admissions policies; educational “remedies” moral, economic and racial crisis. It of the very politicized and racialized grounds under which “standards” processing, and the salaries of instructors Bellagio, Italy. years. Even at its inception, the program was criticized by the university is also an educational crisis.” extrapolated from the recommendations of merit were established—in Angela Davis’s words, attacking “the and teaching assistants, in January 1970 twenty students began the administration for its exclusion of white students, a stance deemed 4 The NACCD recommended: of the National Advisory Commission on “Expanded opportunities for conspiracy against education.” Media Urban Crisis Program. These students were recruited from the to endanger the provision of funding on the basis it privileged “ethnic higher education through increased Civil Disorders (NACCD) established in federal assistance to disadvantaged High Potential Program and communities in Los Angeles, with five structure” above “disadvantaged economic 16 Letter from Frank Work to 4 students.” http://www.blackpast. 16 1967; and the mandate towards affirmative org/primary/national-advisory- In parallel with the development of the HPP and the Institute of American individuals admitted from each of the “ethnic” groups defined by the four condition,” although these criticisms Colin Young and William Menger, commission-civil-disorders- “Funding and Admission of EOP action within education, written into the kerner-report-1967#sthash. Cultures, a number of UCLA faculty involved with communications on centers within the Institute of American Cultures. seemingly ignored the existing privileges Students in Theater Arts,” June 25, 1970 5 b4ljd8WJ.dpuf 17 Civil Rights Act of 1964. In 1968, the campus formed a committee to “consider the role of UCLA in translating retained and reproduced by white people. 17 5 In “The Racial Limits of Social In 1978, the Supreme Court university established the High Potential Justice: The Ruse of Equality its interest, knowledge, and activities relating to the urban crisis and the While operating with the financial support of UCLA and as an In 1974 Taylor was denied tenure (an act that heard its first case in contestation of of Opportunity and the Global affirmative action policies, brought Program (HPP), a “special entry program Affirmative Action Mandate,” special needs of ethnic minorities into radio and television programming, acknowledged “experimental program” within the university, Elyseo students at the time have attributed to racist by a white applicant refused entry Denise Ferreira da Silva states: 10 to the University of California to modify the [composition of the] student “Framing the mandate to bring particularly for educational purposes on a mass basis.” The Media Taylor viewed the Media Urban Crisis Program as autonomous, its motives), yet the influence and ethos of the Medical School. The court 6 about equal opportunity, to meet invalidated the University’s special population at the University” conceived by Urban Crisis Committee (MUCC) included 10 agenda defined by the larger enterprise of establishing “Community Ethno-communications program, and his admissions plan by citing the Equal the call for ‘abundance and liberty Letter from UCLA Vice Protection clause of the Fourteenth for all’ and to the ‘end of poverty Chancellor Paul O. Proehl to a joint student-faculty committee, based faculty from the departments of Journalism, Communication Centers” in South and East Los Angeles that would teaching, exceeded their short lifespans at Amendment, and ruling that and racial injustice,’ the document members of MUCC, April 23, the student had been the victim on recommendations from the Black [Civil Rights Act] includes a phrase English, Political Science, Communications, 1969. ultimately handle the production, programming, distribution, and UCLA. Alongside Ethno-communications, ‘order such affirmative action’ that of “reverse discrimination,” and Students Union (BSU) and United Mexican animated substantive measures for and Theater Arts, and initially focused its attention on “transmitting screening of films. For Taylor, “the students at UCLA were to be only Taylor established the upper-division that the plan denied future white addressing racial discrimination applicants the opportunity to American Students (UMAS). Simultaneously, in all areas, but in particular in the results of University research and teaching to a larger community the cadre, co-ordinating and further advancing the work of the other undergraduate course “Film and Social compete for all one hundred seats in the class. proposals were made towards the founding employment and education.” outside the University.” The committee judged that: filmmaking groups that were getting started in all the communities.”13 Change” which remains part of the core 6 Barbara A. Rhodes, “UCLA of an Institute of American Cultures when High Potential Program The space for “social dialogue” he looked to 13 film school curriculum today. On Taylor’s departure from UCLA, PhD 1968–1969,” (Los Angeles: UCLA, Taylor, “Mass Media and the inaugurated in 1969, the Institute comprised 1970), 8. Left to themselves, large communities do a dreadful job of develop drew significantly on the liberationist Social Dialogue” student Teshome Gabriel took over the teaching of the course, and as autonomous centers for Afro-American, 7 The establishment of these communicating internally. Ghettoes, whether in Bel Air or Maravilla, positions of filmmakers from Latin America, Cuba, and Africa, where with his predecessor, his teaching and scholarship built significantly on centers did not lead to the Asian American, Chicano, and American immediate provision of distinct are spontaneous but inevitable microcosms of economic and the relationship between “film and national culture” was asserted as the influence of and critical theory around Third Cinema. Between 1974 programs of study. Undergraduate Indian studies.7 and graduate inter-departmental ethnic nationalism. Since we all know this is explosive, it is vital to the decolonization movement. Coining the term Third Cinema and 1976 he and other students organized the Third World Film Club, a programs were established later in the 70s and 80s. Dedicated extraordinary that community governments do so little about in Argentina in 1969, Octavio Getino and Fernando Solanas wrote that: screening program funded by the university that focused on accessing departments of study at UCLA Through the historical insights provided by were not established until the it. Since the University is of the community but also somewhat “Culture and Cinema are national… when they respond to the particular and presenting works from Latin America and Cuba, in some cases individual testimonies and university reports, 2000s.. outside of it, we can perhaps operate successfully in this research needs of development and liberation of each people.”14 In Taylor’s requiring the breaking of U.S. embargos on cultural exchange. Unlike the HPP and the four nascent centers within the Institute of American and project field without entering politics.11 words: “my idea was that art, including other film schools, students at UCLA retained the distribution rights to 14 Octavio Getino and Fernando Cultures appear as instances of liberal institutional reform, in which 11 Colin Young, “UCLA Media film, was a means by which a people could Solanas, “Toward a Third Cinema,” films produced at the university, and in addition to events organized Programs in the Urban Crisis,” Tricontinental, No. 14, October dominant structures of knowledge, language, and representation In contrast to the committee’s position internal UCLA document, May engage in a dialogue with itself… [rather 1969 on campus their films were shown at community-based screenings 13, 1969. were inflected by the demands of radical politics that actively resisted articulated in this statement, the MUCC also than] eaves-dropping in on the dialogue of 15 Taylor, “Mass Media and the in Los Angeles and elsewhere. As the “cadre” for the development of 8 15 Social Dialogue” prevailing forms of governance. The 8 A large number of students included Elyseo J. Taylor, an assistant professor in the Theater Arts the white community.” The connections community-based filmmaking in the city, organizational and circulatory recruited through the HPP were university hierarchy’s adoption of the term politically active. The question department who had joined UCLA in 1968 after working as a film and with filmmakers from Latin America and Africa, who directly contested structures developed around the students’ work and distinct community of who should be appointed “urban crisis” points to its conception of a director of the Afro-American media educator in two community-run cultural organizations in Watts: Euro-American neo-colonialism and imperialism in their films and relationships, to varying degrees autonomous from or dependent on highly racialized and pathologized object studies center, and the direction it the Watts Happening Café and the Mafundi Institute. Equally, a number writings, were made concrete through events organized at UCLA and the existing institutional or film and media should take, became a focal point 18 of study, building on the NACCD definition for conflict between two Black of students who joined the committee had backgrounds in political elsewhere in LA, by Taylor, and students and faculty of the Theater Arts industry infrastructure. In the ’70s alone, The community production and Power organizations, the Black media training organization Visual of “a system of failure and frustration Panthers and the US Organization. and cultural organizing, most notably Moctesuma Esparza, who was Department. In October 1970, the UCLA African Studies Center hosted students formed influential community and Communications was founded in In January 1969, two Panthers 1970 by a group of Asian American that dominates the ghetto.” The BSU were shot and killed at UCLA’s a founding member of the Young For Community Action, the first African Film Festival in North America, including the notable national media organizations such as Visual students, and is still running today. Campbell Hall, reportedly by a From the early ’70s onwards, a and UMAS recommended that the HPP member of the US Organization. later known as the Brown Berets. Taylor, Esparza, and the students participation of Ousmane Sembene and Stephane Allisante. Later visits Communications and the Chicano Cinema number of Chicano students and alumni produced films and series address the systematic elimination from higher education of Chicanos became the dominant voices in the MUCC, and the direction of the from filmmakers included longer teaching periods from Sembene and Coalition, and took on key roles in public for network and public television, including the Latino Consortium and African Americans, a situation they stated as grounded in the committee drew directly on both their work outside the university, and Cuban filmmaker Santiago Álvarez, and the Brazilian director Glauber broadcasting including the formation of that spanned ten national public channels. During the ’70s feature failure of primary and secondary schools to “provide a context for their internal sit-ins and protests that contested the white dominance of the Rocha. the PBS Latino Consortium, and screened length films by African American filmmakers Charles Burnett, Larry academic success.” Yet rather than being centered on any inquiry into university population. With the support of Colin Young, the director of their work in national and international film Clark and Haile Gerima won 18 awards at film festivals in Locarno the socio-economic conditions incumbent to these systemic failings, as the Theater Arts department, Taylor had already begun work towards festival circuits. and Berlin. Joining UCLA in 1973, Caldwell engagement with artistic and 14 15 Audio it alone in the search for access to means of communication b has spoken of how the ethos and performative practices, as well as DIARY OF AN AFRICAN NUN I TOLD YOU SO Angela Davis, speech at UCLA, justice. As such the film is an and education. Treviño would NOMMO, newspaper of UCLA discourse around the Ethno- experimental cinema—she has example of a direct cinema later work with many of the UCLA communications program spoken of the influence of Maya Dir: Julie Dash, 1977, 16mm Dir: Alan Kondo, 1974, 16mm October 8, 1969 about the impossibility filmmakers in public broadcasting. Black Students Union, March 12,

extended into the late ’70s, despite Deren and Jonas Mekas’s films, transferred to video, 13 min. transferred to video, 18 min. of objectivity—direct or 1969 what he has decried as the racist and was taught by Shirley Clarke otherwise—for Chicanos as 3 decision to deny Elyseo J. Taylor at UCLA. a U.S. citizens. CHILD OF RESISTANCE tenure in 1974. Taylor’s emphasis Paralleling the three-year span Barbara A. Rhodes (Assistant [Shot in America: Television, of the Ethno-communications Dir: Haile Gerima, 1972, 16mm 4 on community media and social The film was made in an area Professor, San Fernando Valley the State, and the Rise of BLACK ART, BLACK ARTISTS dialogue influenced Caldwell of Watts that had been cleared program at UCLA, Visual Chicano Cinema, 1990] transferred to video, 36 min greatly, and in the mid ’80s he for the construction of the I-105 Communications went through State College), “UCLA High Dir: Elyseo J. Taylor, 1971, 16mm founded KAOS Network, an a period of growth after gaining freeway, and then abandoned Potential Program 1968–1969,” transferred to video, 15 min. art space in Leimert Park, Los after community opposition to the non-profit status in 1971. The 2 Angeles that offers production route. The use of urban spaces for initial reliance on UCLA for (Los Angeles: UCLA, 1970 YA BASTA! training in film, sound, and the production of art, particularly film production support was Dir: Jesús Salvador Treviño, While predominantly recognized media. In the late ’60s, Caldwell exchanged for other funding as an educator, Taylor produced liminal areas such as abandoned 1969, 16mm transferred to video, was drafted to Vietnam, and his lots or under freeway overpasses, sources, principally from publicly 1 two documentaries while at films produced at UCLA are is something McCullough Dash joined the MFA program legislated programs such as the REQUIEM 29 24 min. UCLA: a film on welfare, which indicative of his discomfort with shared with her artist peers. Her at UCLA the same year as Alile Comprehensive Employment Dir: David García and sought to “explain the policies and the armed revolutionary struggle documentary Shopping Bag Spirits Sharon Larkin, drawn to the and Training Act that enabled the practices of the social services In 1968, more than 1,000 Chicano espoused by some of his colleagues, and Freeway Fetishes: Reflections university after having seen a additional members to be recruited, Moctesuma Esparza, 1970, to the tax-payer and the poor”; students walked out of high instead mobilizing a spiritual on Ritual Space made two years flyer at the Studio Museum in including Alan Kondo in 1972. and Black Art, Black Artists. The 16mm transferred to video, 31 schools in East Los Angeles, Afrocentricity within overlapping later, features footage of artists Harlem about Haile Gerima, The organization transitioned to a After moving to the U.S. from latter was finished in 1971, yet protesting unequal conditions in modes of fictional drama, David Hammons and Senga Larry Clark, and Charles Burnett. film distribution and production min. Ethiopia in 1967, Gerima first was shot in 1966 before Taylor education. Among key organizers documentary, formal abstraction Nengudi producing object-based The women filmmakers of color collective, alongside the training of studied drama before transferring joined UCLA as an assistant of the protests were Moctesuma to study film at UCLA, influenced and performance. works in spaces similar to that of who joined the university in the filmmakers in the Asian American Produced by Media Urban professor. The film intercuts shots Esparza—at that time a history by interactions with Elyseo J. Water Ritual #1. Notions of ritual mid-’70s experienced the dynamic community. Between 1972 and Crisis student Esparza with of the exhibition Negro Art in major at UCLA, and a co-founder Taylor, Teshome Gabriel, and I & I: An African Allegory is an are pivotal within both films, political discourse that existed 1977 VC produced ten films, teaching assistant García, and America: One Hundred and Fifty of United Mexican American Ethno-communications student epic rumination on the Rastafari with the base materiality of the around Taylor and Gabriel’s several of which were funded by contributions from other students, Years of Afro-American Art held that Students—and Sal Castro, a Larry Clark. Child of Resistance was concept of “I & I,” a belief in ruinous city becoming reanimated Film and Social Change class the U.S. Office of Education under Requiem 29 documents the violent year at UCLA’s Dickson Center, teacher subsequently fired for made following a dream sparked the oneness of every human. within performative actions and and the Third World Film Club, the Emergency School Aid Act. police actions at the Chicano with artist Van Slater working his role in the walkouts. Ya by an image of Angela Davis in In contrast to this notion of arrangements. The temporal and while also bringing to bear a Moratorium march against the in his studio, overlaid with a Basta! [Enough Already!] features handcuffs. As a radical feminist, undifferentiated commonality, spatial ambiguities of Water Ritual feminist perspective as, in Barbara I Told You So is a documentary Vietnam War on August 29, 1970, conversation between Slater and documentary footage of the Board member of the Communist Party, Caldwell articulates modernity’s #1 suggest a figure outside of time. McCullough’s words, a “double about the influential Japanese and the subsequent inquest into Taylor about the history of black of Education hearings on Castro’s and associate of the Black Panthers, oppositional insistence on “You McCullough has described her minority.” In 1969, Francis Beal’s American poet Lawson Fusao the killing of Los Angeles Times art. appeal, and subsequent sit-ins Davis was a powerful presence and I” as a source of division and work as embodying “real world pamphlet Double Jeopardy: To Inada. In 1971, Inada’s book of journalist Ruben Salazar. Struck and arrests of members of the at UCLA after her recruitment conflict.I & I draws on historical experience with the other world,” Be Black and Female had taken poems Before the War: Poems as by a tear gas canister fired by a In 1968, within the five-year Educational Issues Coordinating in 1969 to the philosophy and literary reference points— and Water Ritual #1 positions issue with both the Black Power They Happenedbecame the first sheriff’s deputy directly into the gap between Taylor’s shooting Committee, formed by Chicano department. She was fired in the including the novel Two Thousand the black female body, and the movement’s male dominance, authored by an Asian American café where he was sheltering, of the film and its completion, students and community members same year, a decision that was at Seasons by Ayi Kwei Armah that materiality of bodily fluid, as a and the predominance of white to be published by a mainstream the death of Salazar—who was playwright Larry Neal published (including filmmaker Treviño) first overturned, before being fired frames African cultures as defined purifying spiritual force in defiance feminist groups that “do not realize publisher. He was also an editor renowned for covering police abuse his acclaimed text “The Black Arts after the walkouts. The film also again in 1970 following speeches by reciprocity—alongside trance- of the prescriptive rhetorics of that they are in fact, fighting of Aiiieeeee!, a groundbreaking in the Chicano community—was Movement,” proclaiming a cultural introduces scripted dramatic critical of the university authorities like choreographies in natural “urban blight.” capitalism and racism.” anthology of Asian American found to be accidental. The film movement in tandem with Black sequences of a teenage boy’s and the police force. In 1971, Davis and urban spaces, sequences of writers published in 1974. Inada mixes footage shot by the students Power: troubles at home and school, with was held in detention for sixteen improvised drama, and footage of a Diary of an African Nun is adapted speaks to his experience of being at the demonstration and material the implication that the Board of months, awaiting trial accused girl interviewing an elderly woman i from a short story by Alice Walker interned as a child, to growing from television broadcasts of The Black Arts Movement Education’s decisions lead to his of involvement in the death of a about her ancestors’ experiences of “Minutes of the Standing published in her 1973 collection In up in the multicultural context the inquest, provided to the is radically opposed to any eventual death. Noriega writes: court judge after an attempted slavery. This latter section serves as Love and Trouble. Its appearance of Fresno, and his feelings of students by Chicano filmmaker concept of the artist that Committee on Ethno- kidnapping by her occasional a pivot point, the directness of the in a book otherwise focused on disassociation from Japanese Jesús Salvador Treviño, who was alienates him from his As Treviño himself bodyguard Jonathan Jackson. testimony to violence underscoring communications,” May 26, 1970 the experience of black women in culture. The film features an working for PBS affiliate KCET. community. Black Art is argues, the free-form Jackson had sought to negotiate the the film’s complex mediations the U.S. creates an inversion that editorial meeting for Aiiieeeee!, in The inquest’s questioning of Raul the aesthetic and spiritual style of Ya Basta! relied release of prisoners from Soledad between a counter-separatist emphasizes the doubling of W.E.B the preface of which the editors Ruiz, photographer and editor of sister of the Black Power upon the fact that “so Prison, including his brother, “oneness,” and the imperatives j Du Bois’s notion of African- wrote: the Chicano newspaper La Raza, concept … the Black Arts much of this was self- author and revolutionary prison within black nationalist liberation. Letter from Vice Chancellor American “double-consciousness,” is cynically diverted in service Movement proposes a radical evident to the audience.” abolitionist George Jackson. the “sense of always looking at Neither Asian culture to the police’s production of reordering of the western Charles Z. Wilson to Vice Thus, the film … served one’s self through the eyes of nor American culture was visual narrative, with the deputy cultural aesthetic. It proposes the needs of an audience 13 Chancellor David S. Saxon, others.” Filmed in stark black and equipped to define us except sheriff performing a grotesquely Child of Resistance takes an a separate symbolism, whose main concern was WATER RITUAL #1: AN URBAN white, Dash finds striking visual in the most superficial terms. prolonged inspection of the experimental and dreamlike form, mythology, critique, and June 10, 1970 the organization of a analogues for Walker’s Ugandan However, American culture, weapon he used to kill Salazar. As channeling both the examples of iconology. RITE OF PURIFICATION “community” and not the nun’s inner turmoil between the equipped to deny us the scholar and current Director of the Davis and George Jackson, and Dir: Barbara McCullough, 1979, craft of an autonomous, the specter of the “new slavery” of rigidity of her religious order, and legitimacy of our uniqueness Chicano Studies Research Center The questions at the heart of k objective, or artistic the prison industrial complex. The 16mm transferred to video, 5 min. an intersecting sense of cultural as American minorities, did at UCLA Chon Noriega has noted: the Black Arts Movement Letter from Frank Work statement. path to liberation, represented by belonging and womanhood rooted so. addressed the responsibility of (Chancellor’s Office) to Colin the figure of the black woman as in deeper rhythms and desires, Salazar had represented the the artist to their community McCullough joined UCLA in While Treviño did not study at revolutionary, is seen to be impeded Young (Theater Arts) and William experienced in the knowledge possibility of an “objective” and the political role of culture, 1971 through the Academic UCLA, in 1968 he undertook by bourgeois complacency and a that she is bringing “death to an and professional journalism alongside a nationalist call for Advancement Program, the Menger (Theater Arts), “Funding a film-training program called cultural impoverishment inherent imaginative people.” incorporating Chicanos self-determination. Taylor’s successor to the High Potential New Communicators, a partial within capitalism. Influenced by and Admission of EOP Students into the body politic. Given conversation with Slater Program, to pursue an precursor to the UCLA programs. the Marxism of Amílcar Cabral, his brutal death, however, emphasizes the shifting undergraduate in Communication in Theater Arts,” June 25, 1970 Ya Basta! demonstrates the Gerima’s films were rooted in the the “journalists of the time” formations of this thinking, Studies before moving on to an many levels on which Chicano alignment of black liberation with necessarily step outside the moving from a critique of the MFA in the Theater Arts, Film filmmakers were working, anti-imperialist struggles in Africa, body politic, and it is from Harlem Renaissance’s engagement and Television Production. Water simultaneously agitating for and the need to erase the “colonial this position that Ruiz—as with a white audience, to their Ritual #1, made in collaboration changes to concrete social models occupying our optic nerve.” the film’s implied narrator— differing positions on art as a with performer Yolanda Vidato, conditions while seeking to gain evidences McCullough’s calls for Chicanos to go political statement. (Theater Arts), Joaquin Acosta 5 in 1969 than they were in 1945. is a Pan-African origin story told Chon Noriega has highlighted Morales’s 1979 filmChicana is a Long-term support for the work disenfranchisement, the movement MANZANAR (University Relations), Dr. The opening sequence ofSeveral by Tovi, and through the child’s the role played by poetry in vital work within this discourse, of the Native American students emphasized a common struggle, Friends, a matter-of-fact encounter growing cultural and political the Chicano Movement, with directly critiquing Valdez’s I Am who joined the Media Urban finding cause also with the black Dir: Robert Nakamura, 1971, Leonard Freedman (Political between a young girl and a drunk consciousness Larkin positions the publishing of poems in Joaquin, and the locating of a male Crisis program was seemingly and Chicano movements. As David 8mm transferred to video, Science), Mrs. Mary Jane Hewitt soldier on a backstreet, is perhaps her as a medium for a discourse newspapers, circulated by hand, figure of nationalist identification limited, a lack reflected in the E. James notes, “the common a metaphor for this dispossession, around systemic dispossession, and read at political rallies, for the Chicano movement. sustained visibility as a filmmaker experience of racism, working-class 16 min. (Educational Opportunities and the specter of the Vietnam the movement towards black having a “profound influence on of only one member of the program. privation, and history of mutual aid Program), Mr. Frank Hobden War. In Huey P. Newton’s words self-determination rooted in the emerging political rhetoric Replicating the roots of I Am Sandra Osawa (née Johnson), a and dependency allowed the idea of (Academic Communications in 1967: Afrocentrism, and anti-imperialist and cultural politics of the late Joaquin in a textual practice, member of the Makah tribe, had an Asian American commonality struggles in Africa. The film can 1960s and early 1970s.” Rodolfo Chicana is based around a slide worked as a Community Action to be relatively unproblematic.” Facility), Professor Jack Lyle The slavery of blacks in this also be seen as an intervention “Corky” Gonzales’s 1967 poem show and talk on the history of Director for the poverty program (Journalism), Professor Waldo country provides the oil for into the insidious narrative of the I am Joaquin stands as the most Chicanas given by activist and on her reservation in Neah Bay, Wong Sinsaang is one of the first the machinery of war that “welfare queen,” (weaponized by influential of these poems, and writer Anna Nieto-Gomez in Washington, before joining films produced and distributed by Phelps (English), Professor America uses to enslave Ronald Reagan in his 1976 bid for was cited within the UCLA 1977. The film is dedicated to UCLA’s High Potential Program Visual Communications, and Elyseo Taylor (Theater Arts), the peoples of the world … Republican nomination), which High Potential Program as the the “courageous and freedom and teaching English in the serves as a portrait of Wong’s father. Penned up in the ghettos of itself built on the 1965 Moynihan ground for its Chicano curriculum. loving women … of the Mexican American Indian Studies Program. The film functions as a formal April 23, 1969 America, surrounded by his Report’s portrayal of black women Gonzales’s poem is a rousing Chicano people,” and while She moved into the Media Urban expression of the bifurcations factories and all the physical as primarily responsible for the call to a nationalism built on a echoing the use of archival Crisis program in January 1970, experienced by father and son: In 1970, while studying in the “tangle of pathology” that leads to “ historical genealogy” that meeting her future husband Yasu Ethno-communications program, components of his economic and museological images in within the elder Wong’s biography d system, we have been made the “matriarchal structure” of the “transcends all religious, political, I Am Joaquin, emphasizes the Osawa, in the first group of Asian as an immigrant from China; Nakamura, Duane Kubo, Alan black community. class, and economic factions” American students. They both Ohashi, and Eddie Wong Letter and attached summary into ‘the wretched of the matriarchal roots of La Raza: between work life and the private earth. within the Chicano community, Where Gonzales and Valdez left the program in the summer pursuit of cultural heritage; and constructed a traveling educational by Colin Young, Head of UCLA fusing into the single imaginary of the same year, after becoming exhibit that assembled photos [“In Defense of Self Defense,” evoked Cuauhtémoc, Chicana across a generational divide. The Theater Arts Department, “UCLA 1967] e polity of “La Raza” (The Race). cites Coatlicue, the mother of the frustrated by the limitations second half of the film concentrates and text on the internment camps Memorandum from Frank on resources. In 1974, Osawa that held Japanese Americans Media Programs in the Urban Aztec gods, as the source of all on aspects of Wong’s father’s life E. Hobden to Colin Young, A manifesto written in 1966 life. But Chicana does not simply produced a public information distinct from his job, and expresses during the Second World War. Crisis,” May 13, 1969 series on Native Americans The project made use of materials 7 “Available resources in A.C.F. for by Valdez as part of the grape replace the figure of identification a common movement towards YOUR CHILDREN COME BACK workers’ strike influenced the for Chicano nationalism while for NBC, and has subsequently “transcending and resisting” the collated by the Japanese American assistance in the ‘Urban Crisis,’” collaborated with Yasu on Relocation Project, held at UCLA, TO YOU rhetorical style of Gonzales’s I upholding the mytho-poetics alienation formed through cultural am Joaquin, and in return ETC of I Am Joaquin, instead offering numerous notable documentaries. dislocation, and the racialized as well as government archives and 6 Dir: Alile Sharon Larkin, 1979, September 9, 1969 family collections. Encouraged SEVERAL FRIENDS toured a dramatic reading of the a detailed address of the role ground of labor. by the Japanese American Dir: Charles Burnett, 1969, 16mm transferred to video, poem accompanied by a slide of revolutionary women in key Curios was Osawa’s Project One show of photographs by George struggles such as the right to film and, despite its succinctness, Citizens League to extend this 27 min. f work further, they established 16mm transferred to video, 22 Elyseo J. Taylor, “Media Urban Ballis, who had documented the education, the rights of migrant it has formed a foundation for the g work of UFW. In 1969, Valdez workers, and social welfare. As themes she has pursued since, and Letter from Henry W. McGee Jr. Visual Communications (VC), an min. Crisis Staff Report,” December organization with the mission to translated the show into a film David E. James has highlighted: conveys the ongoing expropriation (director of Afro-American depict and distribute the history 2, 1969 that was widely circulated. The of indigenous culture and life by A notable precursor to his Center), Emmett S. Oliver and culture of Asian and Pacific cultural nationalism of I am In Morales’s socialist- settler-colonialism, through its acclaimed 1977 feature Killer of people in America. Joaquin marks a distinctive feminist historical analysis, museological deadening. Made (director of American Indian Sheep, Several Friends was produced political transformation within in the late 1980s, but with roots 8 women are leaders of Project), Yuji Ichioka (director of at UCLA the year before Burnett I AM JOAQUIN the arena in which the UCLA struggle against sexual and in the summer of 1970 when Nakamura’s Manzanar is a personal took up the role of teaching filmmakers worked—what Sandra and Yasu visited New and historical account of Japanese class oppression, and rather Asian-American Center), Gilbert assistant on the Media Urban Dir: Luis Valdez, 1969, 16mm Noriega describes as a “shift from than being rhetorically and Arizona, In the Heart American internment, centered Crisis program. Its casual mode an emphasis on social space to one of Big Mountain is a documentary P. Garcia (director of Mexican- on the concentration camp in the transferred to video, 19 min. transcended in the forging of documentary fiction, focused on cultural identity occur[ring] of a noncontradictory centered on Katherine Smith, a American Cultural Center) to eponymous town in Owen’s Valley, on a series of quotidian social simultaneously with the shift Navajo woman renowned for California, where the filmmaker The sustained protests of students commonality, divisions in it Vice Chancellor Paul O. Proehl, interactions, shows the influence involved with the Media Urban from student activists to media are recognized. her resistance of an act passed by had been interned with his family. of Italian neorealist cinema and the professionals.” Congress in 1974 that forced the March 16, 1970 Filming the Manzanar site, where Crisis and Ethno-communications [The Most Typical Avant- family dramas of Oscar Micheaux, programs led to significant Garde: History and Geography relocation of traditional Navajo in 1971 little remained of the camp, shifted from a middle-class to a people from their sacred homeland Nakamura seeks to reconstruct commitments from the Theater of Minor Cinemas in Los working-class milieu. Burnett Arts department to increase the 9 Angeles, 2005] on Big Mountain, Arizona. Osawa the history of internment through CHICANA h eschewed the overtly ideological proportion of students of color has spoken of her desire for her Letter from Vice Chancellor Paul intercut archival images and approach of his contemporaries. films to convey the experience fragmented personal recollections. admitted to their programs, with Dir: Sylvia Morales, 1979, 16mm Yet underpinning Several Friends some testimonies citing the 10 of being between worlds, on and O. Proehl to Henry W. McGee Jr., Manzanar evokes the gaps between is consciousness of how the high transferred to video, 23 min. CURIOS off the reservation. The ongoing these evidentiary sites and the existence of a quota of 25% in the Emmett S. Oliver, Yuji Ichioka, unemployment and economic stasis early 1970s. While at this time the violence of forced relocation is psychic trauma held within the Dir: Sandra Osawa, 1970, 8mm and Gilbert P. Garcia, March 18, of South Central Los Angeles was majority of positions in the TV and Morales entered UCLA in tangible in Big Mountain. Smith Japanese American community. In exerting itself into black people’s In 1965, playwright Luis Valdez transferred to video, 1 min. died in March 2017 at her 1981, VC released comprehensive Motion Pictures division went to the late 1960s, before joining 1970 lives—in their relationships with men, in the mid ’70s there was a founded El Teatro Campesino the TV and Motion Pictures homestead on Big Mountain. video recordings of testimonies friends, between men and women, (ETC), a theater group that provided by internees at the noticeable shift when a number of Division of the Theater Arts IN THE HEART OF BIG and with the material stuff of life, African American women joined performed collaborative agitprop hearings of the Commission Department through Ethno- 12 such as washing machines and cars. the graduate program, including plays to striking farmworkers communications. She has spoken MOUNTAIN 11 I & I: AN AFRICAN ALLEGORY on Wartime Relocation and around California, with Cesar WONG SINSAANG Internment of Civilians (CWRIC), Alile Sharon Larkin. of the contradictions between Dir: Sandra Osawa, 1988, video, In the post-Second World War Chavez and Dolores Huertas’s the radical politics espoused by Dir: Eddie Wong, 1971, 8mm Dir: Ben Caldwell, 1979, 16mm a congressional panel tasked with United Farm Workers (UFW) period, California wagered its Your Children Come Back To You the majority of students, and the 28 min. transferred to video, 33 min. reviewing the circumstances movement. While Valdez had no transferred to video, 12 min. economic future on the military is a layered, fictional narrative she experienced within the around the authorization of direct presence at UCLA, ETC’s industries, with substantial centering on a young girl, Tovi, and program. For Morales, the role Japanese American internment. move from grassroots politics into investment in aerospace, and the struggles between her mother of women within the movements In the late 1960s, the identification film and media in the late ’60s research and production facilities. and aunt over her care. Tovi’s father that intersected at UCLA was “Asian American” formed around a coincided with the founding of the However, African American has left home to join the People’s largely repressed by a masculine civil rights movement that sought c UCLA programs, and combined workers who had moved to Movement for the Liberation of orientation to student debates. In to counter the marginalization of Letter from UCLA Vice to significantly shape future California to take up work in Angola, and her mother is chastised the early 1970s, Chicana feminist people of Asian ancestry in the U.S. Chancellor Paul O. Proehl structures for Chicano filmmaking the wartime industries were by her middle-class sister-in- literature asserted the need for the While grouping together distinct and mass communication. to Professor Colin Young subsequently pushed out of these law for raising Tovi on welfare Chicano movement to re-center on national origins and generational jobs, and were poorer in real terms payments. At the core of the film the intersection of race and . experiences of immigration and