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Fifth Annual VIDEO TELEVISION Documentary Festival

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Fifth Annual VIDEO TELEVISION Documentary Festival fifth annual VIDEO John Reilly Festival Director TELEVISION Gabrielle Kelly Julie Gustafson Documentary Karen Mooney Program Coordinators Festival John Reilly Executive Director Julie Gustafson Associate Director Karen Mooney Associate Director This festival is supported in part by a grant from the National Endowment for the Arts in Washington, D .C ., a federal agency, and the New York State Council on the Arts . Global Village is supported in part by grants from the New York State Council on the Arts, the National Endowment for the Arts, the Corporation for Public Broadcasting, the Rockefeller Foundation, Sony Video Products, New York State Council for the Humanities, New Jersey Design : Steve Heller/cover : Leslie Cabarga Council for the Humanities, subscriptions, student fees and donations . ith this fifth year, the Video and and subjects . We are proud to have Jack Willis' "Paul Television Documentary Festival has Jacobs and the Nuclear Gang," a compelling, frightening become a true celebration of the best of work about the dangers of low-level radiation. Warrington the documentary form on television . It Hudlin's "Black at Yale," is an important and incisive view has become increasingly apparent that of blacks at and around Yale University . This year, the for the documentary as a rational and first time, we are honored to have the work of Bill Moyers . serious dramatization of life past and "Harvest," is the first program in the new "Bill Moyers present is more essential than ever on Journal" WNET series. Another outstanding work is "Tat- television. Yet television in general tooed Tears," the shattering portrait of a California youth seems to be moving in another direc- prison by Joan Churchill and Nicholas tion . Broomfield; a pro- gram that, despite loud acclaim has had some difficulty The commercial networks have finding a national time slot on PBS. largely We are pleased to abandoned the long visual welcome Warrington Hudlin, Jack Willis, and essay-the documentary-in favor David of mindless and Grubin (Director of "Harvest") in person to introduce and senseless escapist programming . The networks, unfor- discuss their works. tunately, have provided the best argument against One of the joys of presenting our deregulation Annual Festival is the of broadcasting by approaching the absurd chance to renew contact with the makers outer limits of bad taste in who, over the television programs . years, have sent us outstanding works. One such group is A few bright spots shine through via ABC and Pam Hill's University Community Video in efforts, Minneapolis, Minnesota. the struggle for survival of the documentary units This year's festival entries are "A Man at other networks, and Writes to a part of of course "60 minutes." All of this Himself," a portrait of Robert Bly, the poet, and "Forced is to say that the documentary as a form which reflects reali- Work: Three Women on Welfare," chosen from among the ty is needed more than ever in American television. many excellent entries from this With and other groups. the return of Bill Moyers to public broadcasting, We have three timely works dealing with the introduction environmental of local, independent series' at issues: Fred Beeman's "A Different Kind of Rain;" WNET/New York and WTTW/Chicago, the continued "Fluorocarbons" by Nick Herlick of funding of independent KTEH/San Jose; pilots and programming by the and "Love Canal, Dioxin," by Linda Hunt of WNED/ Corporation for Public Broadcasting, WNYC's Video and Buffalo . All are frightening indictments of Film Festival, and official neglect. "Non Fiction Television," the national A work that has stirred major controversy is "Blacks series out of the TV Lab at WNET, public television con- Britannica," by David Koff, aired in tinues to be the modified form by the best opportunity for the independent to be "World" series out of WGBH/Boston. We are also proud broadcast. to present a part of D .A . Pennebaker's Although even this epic and revealing is not sufficient for most of us, public five-hour documentary "The Energy War ." Made for PBS broadcasting has continued to provide a forum for the with Pat Powell and Chris serious Hegedus it is an important documentary-maker, a forum which is lacking on documentation of a crucial political process commercial channels. This year also marks the "world premiere" of "Home" Other developments which have supported the general a new documentary by Julie Gustafson and myself, pro- cooperation of independents and public television are the duced in association with the TV immediate Lab at WNET. The work success of our new publication "Airtime," a will be broadcast over WNET and PBS'in newsletter dedicated to mid-June. this cooperation, with a circulation Other notable works in this year's Festival in- of 5,000; the success of the Association for Independent clude Battcock and Paik's Video "You Can't Lick Stamps and Filmmakers in lobbying on behalf of in- in China" ; "Steina," a video portrait dependents; the support by Steina and of research by the National En- Woody Vasulka; and "This is TV America," by dowment for the Arts and the Tom Corporation for Public DeWitt . All the works in this year's Festival are notewor- Broadcasting into national series concepts ; the growth of thy and together with those works the Ford-NEA previously mentioned Independent Documentary Fund; the con- here, contribute to what we feel is an excellent program tinued general support of the Rockefeller . Foundation; and A few personal observations in addition; thanks to the support given to creative producers of all persuasions by Karen Mooney, Julie the Gustafson, Charles Addotta, recent Carnegie Commission on the future of Public Richard Bloes, Judy Klein, Millner Broadcasting . Bros ., Susan Landry, and Rochelle Weiner . Thanks to Steve Heller for his in- Much still remains to be done to support the independent spired art direction, and special thanks documentary maker : to Gabrielle Kelly most fees paid for work are very low, for her terrific work on behalf of the independent promotion is scarce, and no weekly artists national series exists. both in this Festival, and in her coordination of our Video More educational efforts are necessary between in- and Film Series . dependents and broadcasters, and more help must be given We deeply appreciate the wonderful support given to to new and emerging artists. Global Village, the committment This last point is of artists we have relevant to our Festival . We deliberately presented in the recent year, by the people who mix the works of little-known but come to gifted documentary our programs, and especially those hundreds in the past makers with works by D .A . Pennebaker, Bill Moyers, Pam- who have become members Hill and of Global Village. At moments others who are well-known . This year's festival when we feel it is time to give up the contains just such a mix . struggle, this kind of enthusiastic public support makes it possible to continue. The Fifth Documentary Festival, with more entries and the most extensive program ever, includes a number of John Reilly outstanding works and a wide range of documentary styles Festival Director FRIDAY MAY 4 SATURDAY MAY 5 8:00 8:00 THIS IS TV AMERICA TATTOOED TEARS Tom DeWitt Joan Churchill, Nick Broomfield 30 minutes, color video 85 minutes, color 16mm film The concept for this tape was born in England in 1974 during A powerful and provocative study of prisons in America, "Tat- production of a 25-minute work for London Weekend TV on the tooed Tears" was shot at the Youth Training School in California past and future of television in Britain . Soon after returning to which holds about 2,000 juveniles . The filmmakers had the US, DeWitt initiated a similar program about American unrestricted access via the Director who was about to resign as he television. Since Americans watch an average of 6 hours per day had himself become convinced that rehabilitation was impossible this humorous but challenging work offers some thoughts about in an institutional setting. The documentary evokes the con- what it is we are watching. Satirical sketches were realized at the tinuous tension and frustration of this environment in a series of Synapse Video Studio and at the WNET/New York TV dramatic Lab dur- and honest portraits of a number of inmates. Caspar ing residencies there in 1975 . who was originally committed for glue sniffing has marked the Distributed by Synapse Video Center. passage of time by tattoing one teardrop for each year. 8:30 9 :30 THE SEARCH FOR SANDRA LAING TULE: THE CUNA INDIANS OF SAN BLAS Antony Thomas Edin Velez 30 minutes, color 16mm film 36 minutes, color video A powerful study of apartheid, this film documents the true The Cuna Indians of San Blas call themselves "Tule" which story of a girl with non-white features born to white parents, who means "The People." Only recently allowing themselves contact was ostracized by South Africa's white society. Filmmaker with the outside world the unique aspects of their culture are in Thomas uses his search for Sandra Laing (who ran away with a danger of disappearing . Velez traveled hundreds of miles in a dug black at age 15) as a dramatic device to explore a society which out canoe to record this vivid and important portrayal of the draws rigid lines between the races . Now living with her husband Cuna, their island and the rhythm of life they have maintained for and two children in a tin shanty in a black "homeland" Sandra centuries. feels accepted for the first time in her life and petitions the Distributed by Electronic Arts Intermix . government to re-classify her as a black .
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