Dialogues with Madwomen
"I was always so afraid that someone would ask me (where I was when JFK was shot), and I would have to say I was in a mental institution", says director Allie Light. This moving and informative film features seven women--including the filmmaker--describing their experiences with manic depression, multiple personalities, schizophrenia, euphoria and recovery. Candid interviews are enriched with dramatic reenactments and visualizations of each woman's history, emotions, and dreams--the private symbols of madness and sanity. The social dimensions of women and mental illness are revealed in testimony about sexual assault, incest, racism and homophobia, the abuses of the medical establishment, family, and church. Acknowledging that "madness" is often a way of explaining women's self-expression, this film charges us to listen to the creativity and courage of survivors. Produced by the Academy Award winning filmmakers of IN THE SHADOWS OF THE STARS, DIALOGUES WITH MADWOMEN is a ground-breaking film about women and mental illness.
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Guerrillas In Our Midst
GUERRILLAS IN OUR MIDST presents a savvy exploration of the machinations of the commercial art-world during its boom in the 1980s, and brings the Guerrilla Girls to the screen. This anonymous group of art terrorists has succeeded in putting racism and sexism on the agenda in the art-world since 1985, and their witty and creative tactics have changed the face of political and cultural activism. Interviews with key figures in the Manhattan art scene, record-breaking auction sales, exhibition openings and interviews with the Guerrillas Girls themselves combine to highlight how the myth of the heroic male painter is perpetuated.
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Who’s Going to Pay for These Donuts, Anyway?
A brilliant collage of interviews, family photographs, archival footage and personal narration, this film documents Japanese American video artist Janice Tanaka’s search for her father after a 40 year separation. The two reunited when Tanaka found her father living in a halfway house for the mentally ill. Telling the moving story of her search as well as what she discovered about history, cultural identity, memory and family, WHO'S GOING TO PAY FOR THESE DONUTS, ANYWAY? is a rare look at connections between racism and mental illness.
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Dry Kisses Only/War on Lesbians
Through manipulated film clips, the hilarious commentary of Theory Woman and interviews with the Lesbian on the Street, DRY KISSES ONLY (1990, 75 mins.) explores the lesbian subtext of classical films. Cottis and Brooke reedit Hollywood movies to affirm the validity of lesbian readings of popular culutre and the tenuous truths of gossip. WAR ON LESBIANS (1992, 32 mins.) is a witty critique of the invisibility of positive images of lesbians and a satire of talk show television and radio self-help program. Both films are hilarious tributes to lesbian spectatorship as well as biting critiques of the media, lesbian stereotyping and popular culture.
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My Niagara
Grasping the texture of half-expressed desire, this beautifully drawn drama evokes the complex dislocations of an Asian American woman. Shadowed by the death of her mother, Julie Kumagai's life with her widower father is marked by pained, turbulent exchanges. Indifferent to a break-up with her boyfriend and the lure of a long-planned trip, she finds some refuge in her workplace where meets Tetsuro, a young Korean man newly emigrated from Japan who is obsessed with all things American. But together they discover no easy resolutions.
MY NIAGARA was funded by the Independent Television Service (ITVS) with funds provided by the Corporation for Public Broadcasting.
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Thank God I'm a Lesbian
THANK GOD I'M A LESBIAN is an uplifting and entertaining documentary about the diversity of lesbian identities. Dionne Brand, Nicole Brossard, Lee Pui Ming, Becki Ross, Julia Creet, LaVerne Monette, Sarah Schulman, Chris Bearchell, Chris Phibbs, Christine Delphy and Jeanelle Laillou speak frankly and articulately about issues ranging from coming out, racism, bisexuality, and SM, to the evolution of the feminist and lesbian movements, outing and compulsory heterosexuality. Inclusive of various and often contradictory points of view, THANK GOD I'M A LESBIAN successfully proposes an alternate vision of self and community that is realistic and positive. This fast-paced documentary was edited by Geraldine Peroni who was nominated for an Academy Award for The Player.
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The Cinematic Jazz of Julie Dash
From her innovative short works to her critically acclaimed feature debut DAUGHTERS OF THE DUST, the films of Julie Dash have broken new cinematic ground and redefined black women's images on screen. In this wide-ranging interview, Dash talks about her background, development and approach to movie making, as well as the struggles, victories and interdependence of African American women filmmakers. Excerpts from early films and DAUGHTERS OF THE DUST, the dramatic feature about different generations of South Carolina sea islanders which has thrilled audiences across the nation, underscore the originality of this immensely gifted artist.
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Double the Trouble, Twice the Fun
A rare and lively examination of disability and homosexuality as it affects both women and men
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Pain, Passion and Profit
From the director of Bend it Like Beckham and Bride and Prejudice, PAIN, PASSION AND PROFIT is an inspirational look at women entrepreneurs through the eyes of the Body Shop founder, Anita Roddick, who has always maintained a strong commitment to the idea of “profits with principles.” Several women in Africa who have successfully developed small-scale business enterprises in their own communities provide a focus for Roddick to pose questions about how the role and status of women affects their enterprises and how those enterprises provide a means of community and economic development for women. PAIN, PASSION AND PROFIT gives an in-depth look at global feminism and economic development as well as a personal and spirited view of the connections between the experiences of women entrepreneurs in the First and Third Worlds.
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Underexposed
Combining drama and documentary, UNDEREXPOSED: THE TEMPLE OF THE FETUS is a savvy and creative probe into high-tech baby-making. The fictional framework of a TV journalist who unearths the ethical complications associated with new reproductive technologies allows thefilm to present complex documentary information about this issue in a clear and insightful way. From the director of I NEED YOUR FULL COOPERATION.
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¡Adelante Mujeres!
Spanning five centuries, this comprehensive film, produced by the National Women's History Project, focuses exclusively on the history of Mexican-American/Chicana women from the Spanish invasion to the present. Hundreds of previously unpublished photographs, art works, and contemporary footage pay tribute to the strength and resilience of women at the center of their families, as activists in their communities, and as contributors to American history. A companion to the ground-breaking Chicana, ¡Adelante Mujeres! is suitable for young adult and college-age audiences, and community and women's groups.
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The Good Wife of Tokyo
“Forget those demure ladies with fragrant fans and meet the new breed of Japanese women!” - Amanda Casson, London Film Festival. Kazuko Hohki goes back to Tokyo with her band, the ‘Frank Chickens’, after living in England for 15 years. This wry and delightful film records her re-experiencing of Japan after a long absence, examining traditional attitudes to women and those of Kazuko’s friends who are trying to live differently. “This is a remarkable film which will appeal to general audiences as well as educators teaching about women, the family and/or religion in contemporary Japan. It deserves to be widely shown.” — Japan Foundation Center for Global Partnership Center for Educational Media.
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Women Who Made the Movies
From the very beginnings of motion picture history, women have played prominent roles in front of the camera. But little is known about the major roles women played behind the camera as directors, writers, editors and other creative roles. Women were making films of great importance at the same time that better known male directors such as Edwin S. Porter and D.W. Griffith were monopolizing cinema history. Until recently, many of their contributions have been forgotten or ignored.
WOMEN WHO MADE THE MOVIES traces the careers and films of directors such as Alice Guy Blaché, arguably the first person to direct a film with a plot in 1896, "La Fée Aux Choux," who also experimented with color, synchronized sound, and films that gradually became more and more ambitious in length and subject matter. Others documented in this film include Ida Lupino, who also had a long career as an actor; Ruth Ann Baldwin, who directed numerous early westerns; Leni Riefenstahl, Hitler's film propagandist; as well as Dorothy Davenport Reid, Lois Weber, Kathlyn Williams, Germaine Dulac, Cleo Madison and many other women who made a lasting contribution to film history.
WOMEN WHO MADE THE MOVIES features film clips, stills and other archival materials, bringing to life the work of these essential and often neglected filmmakers.
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Algeria: Women At War
ALGERIA: WOMEN AT WAR offers a rare insight into the key role Algerian women played in their country’s liberation struggle from the French thirty years ago and their equally important place in today’s politics.
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Amazon Sisters
AMAZON SISTERS portrays the vision and strength of women surviving in the hotly contested Amazon rainforests. While international attention has focused on saving the rainforests, considerably less attention has been paid to the plight of the human inhabitants of Amazonia. Women are at the frontline of the struggle to save their environment and to rebuild a region suffering the effects of inappropriate development. “A film which beautifully expresses the strength, humor and ability of the women of the Amazon Region. It sharply reminds us, however, that simply feeling romantic about rainforests isn’t enough. The need for serious support for both the environment and the health and safety of the people there is made abundantly clear.” —Margaret Prosser, National Women’s Secretary Transport and General Workers Union.
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The Women Next Door
THE WOMEN NEXT DOOR is a thoughtful and emotive documentary about women in the Palestinian-Israeli conflict. Israeli director Michal Aviad was living in the United States when the Intifada broke out in the West Bank and Gaza. Filled with questions about how the Occupation affected women on both sides of the conflict she set off in a journey through Israel and the Occupied Territories with two other women -- a Palestinian assistant director and an Israeli cinematographer. The film explores the roles that the Occupation designated for women on both sides and the questions it raises. In a world of occupation, what is the meaning of femininity, motherhood, birth, violence, compassion and solidarity between women? Can the womanhood of Israelis and Palestinians be separated from their political reality? The women next door are the women on either side of the border, as well as, those who face the camera and those who stand behind it. THE WOMEN NEXT DOOR provides a unique perspective on women’s lives in the Middle East and the critical part they play in rebuilding societies ravaged by war.
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Japanese American Women
The stereotype of the polite, docile, exotic Asian woman is shattered in this documentary in which a dozen women speak about their experiences as part of the "model minority." JAPANESE AMERICAN WOMEN explores the ambivalent feelings the women have both towards Japan and the United States. The underlying theme is the burden of being different, of being brought up “one of a kind” as opposed to growing up part of an ethnic community. An uneasy feeling prevails of being neither Japanese nor American, and the documentary ultimately becomes the story of Japanese American women and their search for a sense of place.
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Margaret Sanger
MARGARET SANGER: A PUBLIC NUISANCE highlights Sanger's pioneering strategies of using media and popular culture to advance the cause of birth control. It tells the story of her arrest and trial, using actuality films, vaudeville, courtroom sketches and re-enactments, video effects and Sanger's own words. This witty and inventive documentary looks at how Sanger effectively changed public discussion of birth control from issues of morality to issues of women's health and economic well-being. Executive producers of the program are Barbara Abrash, Esther Katz and Laurence Hegarty.
MARGARET SANGER was funded by the Independent Television Service (ITVS) with funds provided by the Corporation for Public Broadcasting.
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Honoring Our Voices
Sharing their stories about recovery and healing, six Native women of different ages and backgrounds talk about the choices they have made to overcome the hardships of family violence and end the cycle of abuse and silence. Through the far-reaching changes in their lives, they reveal the rewards of empowering themselves and their families, as well as the strengths of counseling based in Native healing strategies and traditions. Directed by Judi Jeffrey (Metis) and produced by the Native Counselling Services of Alberta, this thought-provoking documentary is a valuable tool for education, prevention and intervention.
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Praise House
PRAISE HOUSE combines elements of theater, dance and music based on the rhythms and rituals of Africa. Julie Dash, director of DAUGHTERS OF THE DUST, collaborated with Jawole Willa Jo Zollar, founder and choreographer of Urban Bush Women, to explore the source of creativity and its effect on three generations of African American women. PRAISE HOUSE shows the emotional prison so many people live in, even as it celebrates the persistence of belief and creativity, and the splendid legacies African Americans have preserved against all odds. Produced for ALIVE TV, KTCA.
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History and Memory: For Akiko and Takashige
Groundbreaking and haunting, this film is a poetic composition of recorded history and non-recorded memory. Filmmaker Rea Tajiri’s family was among the 120,000 Japanese and Japanese Americans who were imprisoned in internment camps after the attack on Pearl Harbor. And like so many who were in the camps, Tajiri’s family wrapped their memories of that experience in a shroud of silence and forgetting.
Ruminating on the difficult nature of representing the past – especially a past that exists outside traditional historic accounts – Tajiri blends interviews, memorabilia, a pilgrimage to the camp where her mother was interned, and the story of her father, who had been drafted pre-Pearl Harbor and returned to find his family’s house removed from its site.
Throughout, she surveys the impact of images (real images, desired images made real, and unrealized dream images). The film draws from a variety of sources: Hollywood spectacle, government propaganda, newsreels, memories of the living, and sprits of the dead, as well as Tajiri’s own intuitions of a place she has never visited, but of which she has a memory. More than simply calling attention to the gaps in the story of the Japanese American internment, this important film raises questions about collective history – questions that prompt Tajiri to daringly re-imagine and re-create what has been stolen and what has been lost.
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