|
|
|
|
|
|
|
Bobo, Jaqueline. Black Feminist Cultural Criticism (Keyworks in Cultural Studies). January 2001!
Jaqueline Bobo presents artists in literature, film, television, theater, music, spoken word, and art, discussing the relevancy ofblack women’s contributions in these areas. **
Bobo, Jaqueline. Black Women As Cultural Readers. New York: Columbia U. Press,1995.
The author of Black Women Film and Video Artists
examines
the reactions and opinions of "black female cultural consumers" to literature and film dealing with the experiences
of African American women. Bobo incorporates interviews and quotes fromwomen of diverse backgrounds, documenting their
praise and criticism of the literature and film renditions of The Color
Purple and Daughters of the Dust. ***
Bobo, Jacqueline, ed. Black Women Film and Video Artists. New York: Routledge, 1998.
Black Women Film and Video Artists is a comprehensive
guide to the history and practice of filmmaking by black women.This compilation includes not only the essays of
top scholars in the field of black women’s cinema but also the literary
contributions of the women filmmaker’s themselves.
The filmmakers’ own narratives give an in depth look into their techniques and personal styles as screenwriters,
directors, and producers. Carmen Coustant, C.A. Griffith, Carol Munday Lawerence, O. Funmilayo Makarah, Jacqueline Shearer,
and others share their points of view about their own work and the
works of other black women filmmakers. The book
also includes a detailed filmography and bibliography, a film distribution
list, and a guideline syllabus for designing a
course based on the film and video of black women. ****
Dash, Julie. Daughters of the Dust: The Making of an African American Woman’s Film.New York: New Press, 1992.
Acclaimed black woman filmmaker, Julie Dash describes the challenges she faced directing her award-winning movie Daughters of the Dust. This insightful, behind the scenes look at the filming process includes an introduction by Toni Cade Bambara, an interview with Julie Dash by Bell Hooks, the original screenplay of the movie with director’s notes, a Gullah translation of the script, an essay by Greg Tate, Geechee recipes, and sixteen pages of full-color photos from the film. ****
Diawara, Manthia. Black American Cinema. New York: Routledge, 1994.
Diawara’s anthology on black American film encompasses the history, tradition, and technique of the genre. Featuring 19 commentaries on expression, style, and aesthetic, the book gives an in depth analysis on recurring themes in black cinema. An important aspect of Black American Cinema is its focus on Julie Dash and black women independent filmmakers in Chapter 8 and the two essays on the black female audience. **
Foster, Gwendolyn Audrey. Women Filmmakers of the African and Asian Diaspora:Decolonizing the Gaze, Locating Subjectivity . Carbondale and Edwardsville: Southern Illinois University Press, 1997.
Gwendolyn Audrey Foster studies six contemporary Asian and Black filmmakers: Zeinabu Davis, Ngozi Onwurah, Julie Dash, Pratibha Parmar, Trinn T. Minh-ha, and Mira Nair and the unique style and technique to achieve the common goal of "articulating and reconstructing cinematic subjectivity," challenging the previous misconceptions held by white Hollywood regarding the true nature of the black woman and her experiences. The book includes analysis of works by the artists and how they represent "black femaleness" in their films. ****
Foster, Gwendolyn Audrey, et al. Women Filmmakers and Their Films. Cambridge: Gale Group, 1998.
Foster’s updated source on women in the motion picture
industry based on her 1995 bio-critical dictionary: Women Film Directors. This 250 entry filmography provides
a more comprehensive listing of women directors, producers, animators, editors, writers, costume designers, and artists
in the film industry from the 19th century to today’s most important
women and their films. Each entry provides a biography,
filmography, bibliography, and critical essay of the film artist. Also
included
are 60 films influenced by women filmmakers and
numerous black and white portraits. **
Foster, Gwendolyn Audrey. Women Film Directors: An International Bio-CriticalDictionary . Westport: Greenwood Press, 1995.
Foster’s first resource on women filmmaker includes biographies, filmographies, chronologies of the most influential women in the history of film. The reference book is organized in alphabetical order but also lists women film directors by nationality. **
Kendall, Steven D. New Jack Cinema: Hollywood’s African American Directors.Silver Spring, MD: J.L. Denser, Inc., 1995.
This books is a listing of "New Jack era" films, festivals, and directors. Black women filmmakers are occasionally cited. *
Klotman, Phyllis R. and Janet K. Cutler, eds. Struggles for Representation: African American Documentary Film and Video. Bloomington: Indiana U. Press, 1999.
Influenced by the Black Film Archive at Indiana
University, this detailed source references more than 450 documentary films
and filmmakers with interviews, filmographies,
and bibliographies. Well-known black women directors are included. In addition, Various scholars and experts on cinematography,
such as Manthia Diawara share their views in 11 essays on black
documentary film, addressing contemporary social,
community, family issues, as well as narration and film techniques. **
Martin, Michael T., ed. Cinemas of the Black Diaspora: Diversity, Dependence, Oppositionality. Detriot: Wayne State University Press, 1995.
Michael T. Martin has put together an anthology
of essays and interviews by scholars and filmmakers discussing the major trends in black Diaspora cinema. The collection
includes three articles directly relating to black women filmmakers. In
first article, " Dialogic Modes of Representing Africa:
Womanist Film," author Mark A. Reid defines what he calls the "womanist"
interpretation of black independent film. "A Mirage
in the desert?" by Claire Andrade-Watkins searches for an explanation for
the "scarcity" of Sub-Saharan women directors at
the FESPACO African film festival. "Making Daughters of the Dust"
focuses on the research, writing, and shooting of screenwriter/director
Julie Dash’s successful motion picture. **
Reid, Mark A. Redefining Black Film. Berkeley: U. of California Press, 1993.
Mark A. Reid discusses black cinema history, including
early African, comedy, male-directed, family, and action films. "Black Feminism and Independent Film," the chapter most
relevant to the topic of black women filmmakers, defines black "womanist" film as a form of "resistance to faceless
feminism and phallocentric pan-Africanism." Reid further elaborates on
this definition and introduces and interpretation
of three aspects of black women’s independent film: reception, assimilation,
resistance, and accommodation. Another useful resource
is the "Black Womanist Film Praxis" chapter, which mentions the most famous women directors/screenwriters of black
film, such as Sarah Maldoror, Safi Faye, Zeinabu Davis, Camille Billops,
Julie Dash, Aile Sharon Larkin, and Katheleen Collins. **
Robin, Diana and Ira Jaffe, ed. Redirecting the Gaze: Gender, Theory, and Cinema in the Third World. Albany: S.U.N.Y. Press, 1999.
Redirecting the Gaze is a collection of essays
exploring the historical and cultural aspects of African, Asian, and Latin
American film. It features three important articles
relating to black women filmmakers. "Making History: Julie Dash" by Patricia Mellencamp details the themes and plots
of Dash’s renowned films Illusions and Daughters of the Dust.
"Reclaiming Images of Women" and "Changing the Inscription
of Female Identity and Subjectivity…" both cover the portrayal of the black
women characters in films written and directed
by black men and women. **
Smith, Valerie. Not Just Race, Not Just Gender: Black Feminist Readings. New York: Routledge, 1998.
Smith analyzes popular culture and cinema to explore
the "intersectionality" among race, class, sexuality, and gender. Though the majority of the works mentioned in the
book are not exclusively written or produced by black women, Chapter 4 discusses how experimental films by Cheryl Dunye
(She Don’t Fade) and Camille Billops (Finding Christa) break
the mold of documentary film technique and the portrayal
of the "authentic black subject." The book relates complex ideas and is
recommended for those with knowledge of black feminist
theory. **
Yearwood, Gladstone Lloyd. Black Film as a Signifying Practice: Cinema, Narration and the African American Aesthetic Tradition. Lawrenceville, NJ: Africa World Press, 2000.
Yearwood uncovers the relationship between cinema
and black culture and the ways in which filmmakers express isssues relating to the black experience. The important
role of aestetics in the critical study of black film is also discussed.
In addition, Chapter 7 is devoted to the narrative
technique in Julie Dash’s Daughters of the Dust. **
|
|
|
|
|
|
|
|
PERIODICALS AND SELECTED NEWSPAPER ARTICLESJournal , Magazine, Newspaper Relevancy Rating System
**** Strictly about black women filmmakers(s)
***Mostly about black women filmmaker(s)
**Specific section(s) or paragraphs(s) about black women filmmaker(s)
*Periodically mentions black women filmmaker(s) throughout article
Andrade-Watkins, Claire. "La Force du Vodu."
Black
Film Review 6.1 (1992): 18-21. (Full Text in EBSCO database as of 12/00)
Claire Andrade-Watkins interviews Elsie Haas, a Haitian filmmaker and lists her previous works. Haas addresses the struggle of Caribbean women filmmakers to receive funding and recognition. She also discusses her favorite aspects of filmmaking and the significance of her latest film La Force du Vodu, a documentary on the role of voodoo in Haitian culture. In conclusion, she previews her next project Boni, a film about Guayna.
****
"Black America’s Rich Film History." Ebony Feb. 1993: 154-158. (Full Text in EBSCO database as of 12/00)
This article presents the history of black film, the best black movies, and firsts in black film, including the first black woman director, Maya Angelou. It also notes the contributions of Euzhan Palacy, Julie Dash, and others to the enhancement of African-American Cinema. *
"Black Women Make Movies’ Series in Atlanta." New York Amsterdam News 23 Mar.1996: 26. (Not Available in Full Text in electronic databases)
This short synopsis of the Atlanta African Film Society’s first convention of black women filmmakers includes a listing of the films and their screening dates and times. ****
Blue, Carroll Parrott. "Film as Reflection: Family, Self, and Creativity." Sage: A Scholarly Journal on Black Women 7.2 (Fall 1990):48-49. (Full Text and Annotated Bibliography Not Available) ***
Carpenter, Shari L. "The Mouse that Roared: An Interview with Diane Houston." Cineaste.23.1 (1997) : 39-40.(Full Text in EBSCO database as of 12/00)
Diane Houston speaks about the significance of being the first black woman filmmaker to be nominated for an Oscar in 1996 and the only black filmmaker nominated for that year. She describes her nominated short film Tuesday Morning Ride, the nomination process, and a film currently in the works, The Mercy Factor. Carpenter also questions why there was so little focus on Houston’s film and more focus on the controversy surrounding the fact that there was only one black nominee. ****
Cham, Mbye. "African Women and Cinema: A Conversation with Anne Mungai."Research in African Literatures 3.25 (Fall 1994): 94-103. (Not Available in Full Text in electronic databases)
Annie Mungai talks about her first film, Saikati and how it relates to the degradation of Kenyan women and the rise of gender awareness issues in post-colonial Africa. The reactions of the Kenyan audience to her film is also examined. ****
Davis, Riasasi Z. "African-American Women’s Reel
Success." New York Amsterdam News 23 Mar. 2000:24.
(Not Available in Full Text in electronic databases)
This article briefly discusses the African-American Women in Cinema International Film Festival and Conference and its mission to gather celebrities and national filmmakers in the fight against racism and the negative stereotyping of black women in films. ****
Gather, Laura. "Close-up and Slow Motion in Julie Dash’s Daughter’s of the Dust." Howard Journal of Communications 7.2 (Apr.-June 1996):103-112. (Full Text and Annotated Bibliography Not Available) ****
Edwards, Audrey. "The Players: Reel Sisters In Hollywood." Essence Sept. 1997: 108-110. (Full Text Not Available in electronic databases)
"The Players" is a spotlight on modern black women filmmakers and their recent and current projects. It provides brief biographies and overviews of the work of Kasi Lemmons, Tracey Edmonds, Dianne Houston, and Debra Martin Chase. ****
Gibson-Hudson. Gloria J. "Filmography." Black Film Review 6.4 (1992): 32-34.(Full Text in EBSCO database as of 12/00)
This is an alphabetical listing of films and videos by black women filmmakers from Anita Addison to Fronza Woods. Also included are various distributors of films by black women. ****
Gibson-Hudson. Gloria J. "The Ties That Bind: Cinematic Representations By Black Women Filmmakers." Quarterly Review of Film and Video 15.2 (1994): 25-44. (Full Text Not Available in electronic databases)
The report analyzes the effects of the representations of black women in films and examines black women film directors use of aspects of their cultural identity within a "socio-historical context." The films of Julie Dash, Salem Mekuria, and Ginny Strikeman are included in the essay. ****
Jackson, Elizabeth. "Barbara McCullough." Black Film Review 7.2 (1993): 4-8. (Full Text in EBSCO database as of 12/00)
Jackson interviews film producer Barbara McCullough on her latest work, Horace Tapscott: Music Griot. She discusses her inspiration for the film, explains the term "Music Griot," and reminisces about UCLA film school and other successful black women filmmakers who were her classmates. Also, McCullough describes the struggles and challenges she and other black women filmmakers face. ****
Jones, Jacqueline. "The Black South in Contemporary Film." African American Review 27.1, Black South Issue. Part 1 of 2. (1993): 19-24. (Full Text Not Available in electronic databases)
"The Black South in Contemporary Film" explains the cinematography of Julie Dash’s Daughters of the Dust. It provides an analysis of the setting (the "Black Ellis Island" at the turn of the century. A later section of the article, Jones compares the cinematography of Daughters of the Dust with that of Charles Burnett’s film To Sleep with Anger.
Ferreira, Patricia. "The Triple Duty of a Black Woman Filmmaker: An Interview with Carmen Coustaut." African American Review 27.3, Women’s Culture Issue. (1993) : 433-442. (Full Text Available in EBSCO database as of 12/00)
In this interview, Carmen Coustaut speaks about
what sparked her interest in filmmaking, the hardships and challenges she
faced in film school, the motivation behind Justifiable
Homicide, and the reactions to this controversial film. She reveals
how she manages the "triple duty" of being a teacher,
a filmmaker, and a scholar and shares her opinions about modern African
film. ****
Lekatsas, Barbara. "Encounters: The Film Odyssey of Camille Billops." Black AmericanLiterature Forum 25.2, Black Film Issue. (1991) : 395-408. (Full Text in EBSCO datbase as of 12/00)
"Encounters" takes an intimate look at the work of Camille Billops, a filmmaker as well as a printmaker and sculptor. The article mentions Billops’ passionate appreciation for black art and her extensive archives of over 1000 interviews with black artists. In addition, it details three of her docudramas based on her life and the lives of her family members: Suzanne Suzanne, Finding Christa, and Older Women and Love and how each film centers around "women and the plight within family as they struggle for independence and mastery over their lives. ****
Mask, Mia L. "Eve’s Bayou: Too Good to be a ‘Black’ Film?" Cineaste 23.4 (1998):26-28. (Full Text in EBSCO database as of 12/00 with photos)
Young actress turned screenwriter/director, Kasi Lemmons made one of the most successful independent films of 1998. This article summarizes and critiques Eve’s Bayou, the nationally acclaimed film about the black upper middle class Bastiste family’s inner conflicts with adultery, rivalry, and preadolescent angst. ****
Miller, Cheryl. "In the Life: New Works by Black Lesbian Filmmakers." Hotwire: The Journal of Women’s Music and Culture 30 Sept. 1992:36. (Full Text in Gender Watch database as of 12/00)
The article focuses on the "Mosiac in Black" portion of the WIDC International Film and Video Festival, which spotlighted new films by black lesbian directors and featured guest speakers Yvonne Welbon, Cheryl Dunye, and Michelle Parkerson. ****
Moon, Spencer. "Behind the Scenes: A Pioneer in Public TV." Black Film Review 6.4 (1992) : 27-31. (Full Text in EBSCO database as of 12/00)
"Behind the Scenes" examines the life of one of the most successful black women in the film and television industries, Madeline Anderson. The article gives biographical information on Anderson’s early life in Lancaster, PA, her passion for cinema, her acclaimed work on PBS and "Black Journal", and her various film and television projects. It mentions her induction, as one of 9 African American contemporary filmmakers, into the Miller Brewing Company’s "Gallery of the Greats." ***
Parkerson, Michelle. "Persistence of Vision: A Current Take on Black Women Filmmakers." Sojourner: The Women’s Forum 31 May 1992, 17.9: 35. (Full Text in Gender Watch database as of 12/00)
Parkerson gives an early nineties perspective on the direction of black women’s film. She argues that the works of black women in the motion picture industry are overshadowed by the success of black men’s urban culture films. She praises Euzhan Palcy’s and Julie Dash’s for their attempts to overcome the marginalization of the black women in Hollywood. Furthermore, Parkerson predicts a future trend toward black lesbian films. ***
Roberts, Tara. "Independent’s Day." Essence Sept. 1998: 104-106. (Full Text Not Available in electronic databases)
This article describes the obstacles faced by black women filmmakers, such as lack of sufficient budgets, the struggle for distribution, and the mainstream audience’s uncertain reaction to the films. It discusses the generations of women filmmakers, the issues they faced during their eras, and the current theme of black feminism in the films of the new generation of independent black women filmmakers. ****
Smith, Valerie. "Reconstituting the Image." Callaloo 27 (1988) : 709-719. (Full Text from Lexis Nexis)
Smith traces the rise of independent films by black women and their similarities to and differences from traditional realist cinema. She also analyzes the visual and audio techniques, themes, and trends in Fannie’s Film, Suzanne Suzanne , and Your Children Come Back to You. The issue of how the black women characters view themselves in films such as, Hair Piece is also addressed. ****
Southgate, Martha. "A Dry White Season (motion picture review)." Essence Oct. 1989: (31-32). (Full Text Not Available in electronic databases)
This brief review appears as part of a special section on black women in film with spotlights on Julie Dash, M. Neema Barnette, Loretha Jones, Robi Reed, and others. This particular piece examines Euzhan Palcy’s A Dry White Season, the first major motion picture directed by a black woman. ****
Taukolonga, Sara. "Rise of the Celluloid Sisters: Black Women are Becoming a Real Force in Modern Filmmaking." Diversity Folio (The Voice) 24 May 1999, N.858:16. (Full Text in Gender Watch database as of 12/00)
Taukolonga reviews the Sistahs in Film Festival in South London, featuring films and quotes form Ngozi Onwarah, Inge Blackman, Rita Smith, Pauline Bailey, and Jamika Ajalon. The women filmmakers briefly discuss the challenges they face in their careers. ****
Williams, John. "Recreating their Media Images: 2 Generations of Black Women Filmmakers." The Black Scholar 25 (1995) : 47-53. (Full Text Not Available in electronic databases)
This article explores the genre of black women’s film from the past to the present. It touches on the various types of films written and directed by black women, including feature, documentary, short, and experimental narrative. Explains how the films of the past and present seek to reveal the perspective of black women.
Williams, John. "Re-Creating Their Media Image." Cineaste April 1994: 38-42. (Full Text in EBSCO database as of 12/00)
Williams explains the trend of films for and about
black women, whether full lemgth, documentary, or short. Specifically,
he focuses on Losing Ground by Kathleen Collins,
Ilusions by Julie Dash, and Alile Sharon Larkin’s A Different Image and how modern black women filmmakers are reinventing the
image of the black woman. ****
|
|
|
|
|
|
|
|
**** Excellent resource for detailed information about black women filmmakers, often with links to other sitesWebsite Relevancy Rating SystemWEBSITES
***Good resource about black women filmmakers and other related topics
**Average, gives a general overview, a beginning site for research on black women filmmakers
California Newsreel. "Everyone’s Child." <http://www.newsreel.org/films/everyone.htm>.
This promotional page features a summary of the plot of Tsiti Dangarembga’s film Everyone’s Child. The movie centers around the lives of three AIDS orphans in Zimbabwee and their tragic story of shattered dreams. The film expresses the need for the African community to embrace these lost children and care for them. The site features press reviews, film ordering information, and links to videos on related subjects.
***
Foster, Dr. Gwendolyn Audrey. <gfoster@unlserve.unl.edu>.
"Dr. Gwendolyn Audrey Foster (Homepage at University of
Nebraska-Lincoln)." <http://www.engwdixon.unl.edu/foster.html>.
2000.
Dr. Gwendolyn Audrey Foster is a professor with expertise in the area of black women’s film. She is also the editor in chief of the journal Quarterly Review of Film and Video . Her website lists and describes the books that she has written about black women filmmakers, women filmmakers in general, and feminist theory and criticism. It also provides distribution information on The Women who Made the Movies, her documentary about women filmmakers. ***
Gearheart, Rebecca. "Comtemporary African Film at the 13th Annual Carter Lectures on Africa: Interviews with Filmmaker Salem Merkura and Film Critic Sheila Petty."
<http://web.africa.ufl.edu/asq/v2/v2i1a5.htm>. May 17, 1998.
This article from African Studies Quarterly opens
with a summary of the Africa on Film and Video conference held from March 22-25, 1998 at the University of Florida,
featuring screenings of films by black women filmmakers, such as Julie Dash, Ingrid Sinclair, and Tsitsi Dangarembga.
Then, Gearheart presents her separate interviews with Salem Merkura and Sheila Petty, discussing the reactions to Deluge,
the film’s portrayal of the effect of the revolution on the people, the
use of
non-fictional characters, the definition of African
film, and the future of filmmaking. ****
Geechee Girls Multimedia <geechgirl@geechee.com>.
"Daughters of the Dust: Secrets and Whispers."
<http://www.geechee.com>.
1999 or <http://geechee.com/Daughter1.html>.
1998.
This website is a tribute to Julie Dash’s Daughters
of the Dust and was created by Geechee Girls Multimedia, a film
distribution company. At this time, the 1999 website
is currently under construction but still features the latest updates on Julie Dash and the latest links to websites relating
to black film. In addition, it contains a detailed filmography of black women independent filmmakers ("Daughters of the
Diaspora"). The 1998 website includes information about Julie Dash, Daughters of the Dust, a Dash filmography,
Daughters
of the Dust history and influences, biographies of black women filmmakers, and a listing of awards Daughters
has received. ****
Handman, Gary and University of California-Berkeley. "Media Resource Center: African American Studies." <http://www.lib.Berkeley.edu/MRC/AfricanAmVid.html>. September 11, 2000.
The Media Resource Center website is a great research tool for looking up the films of black women filmmakers. It features an A-Z filmography complete with audio and video clips, links to reviews, and websites related to selected films. ***
Kabous & R.Y. "Mossane: Safi Faye." <www.fespaco.bf/mossane.htm>. Aug. 4, 1997.
This short piece presents bilingual paragraphs in both English and French about Safi Faye, the first woman filmmaker in Africa. Her filmography from 1972 La Passante to 1997 Mossane is mentioned. In particular, Mossane, the story of a beautiful woman condemned by fate is discussed. The page also includes the film credits and contact information. **
O’Farrow, Julia. <Jaygeeoh@aol.com>. "Beyond the Bars/No Extended Embraces."
<www.geocities.com/jaygeeoh/>.Oct. 17, 2000.
O’Farrow describes her documentary Beyond the Bars, which details the unique circumstances of the wives and girlfriends of prisoners. Part of a screening series of films by black women at Sistas Place in Brooklyn, O’Farrow’s documentary follows six women and their struggle to sustain their long distance relationships, despite the disapproval of family, friends, and society. She also lists links to other sites, poetry, and screening locations and dates. *** ½
Mekuria Productions. <gbogbo@yahoo.com>.
"Deluge(‘Ye Wonz Maibel’)-A Documentary Film by Salem Mekuria."<http://www.smoothassilk.com/deluge.html>. 1997.
Part of the smooth as silk website about Ethiopian art and culture, this page compiles the reactions of film critics to Salem Merukia’s film Deluge, "a story of the Ethiopian students, their revolution, and its aftermath." The movie focuses on the darkest days of the Ethiopian military dictatorship and a country and its people’s loss of history and identity. The page also lists the film’s awards, festival screenings, and ordering information. **
Red Carnelian Films. <info@redcarnelian.com>. "Red Carnelian Films." <http://www.ayoka.com>. 1999.
Red Carnelian Films is a company founded and run by Ayoka Chenzira, a well-known black woman filmmaker. Chenzira distributes and promotes the films of black directors, writers, and producers and encourages budding talent to unveil their works through her company. The site includes a listing of Black Indie Classics as well as New Directions, a listing of films by young black talent. A special biography of Ayoka Chenzira is featured as well as streaming audio and video from Alma Rainbow. ***
Royals, Demetria and Louise Diamond. "Conjure Women."
<http://www.pbs.org/conjure/>. 1997.
The official site for Demetria Royals and her PBS
documentary Conjure Women, a film examining the artistry and philosophy
of black women artists who were born in the U.S.
but are now reclaiming their African heritage. Conjure Women features the
lives of Cassandra Wilson, Carrie Mae Weems, Robbie
McCauley, and Anita Gonzalez. The web site further elaborates on the film and its subjects by including a director’s
statement, biographies, reviews, and comments. ****
Sistah Space. <websta@sistahspace.com>. "JAMBALAYA
a little bit of this....a little bit of that."
<http://www.sistahspace.com/jambalaya/sistahlinks.html>.
1997, 1998.
The Jambalaya page is part of sistahspace.com, a World Wide Web resource for black women. It includes useful links to sites with imformation on black women filmmakers and artists as well as poetry, stories, speeches, activism, and self-enrichment. **
Tapsoba, Clement. "The Women of FESPACO 97: Valerie
Kabor or the Filmmaker ‘of all trades’."
<http://www.fespaco.bf/women.htm>
July 23, 1997.
This web article provides a review of FESPACO 1997 and the contributions by black women filmmakers at the festival. The 1997 short and feature films by African women at FESPACO are listed. Special attention is given to Valerie Kabor, the second prize winner for best fiction film and her work to raise awareness about social issues and the education of African girls. ** ½
Threatt, Monique. <bfca@Indiana.edu>. "Black Film Center Archive." <http://www.Indiana.edu/~bfca/>. 1996.
This is an important resource for someone conducting
in depth research on black filmmakers and black women filmmakers in order to write a book or thesis. Indiana University
has a Black Film Center Archive on its campus, containing almost every film directed by a black filmmaker and taped interviews
with famous black women filmmakers. The site gives directions to the archive and ways to become a member. It also
features online historical film clips and a great web page with links to
numerous black film and black studies web sites. ***
Zimmedia Online <zimmedia@africaonline.co.zw >. "Flame."
<http://www.zimmedia.com/flame>. November 25, 2000.
This is a comprehensive website on black woman filmmaker
Ingrid Sinclair’s breakthrough motion picture, Flame, the story of two young women who joined the liberation army
during the 1972-1980 civil war in Zimbabwee. Ingrid Sinclair gives an in depth explanation of the film’s historical context
and themes relating to the African woman’s fight for independence from
a male dominated society. Also included are the
Director’s Intentions, a Synopsis of the plot, the Cast, Media Quotes,
Festivals, and Awards. ****
Zimmedia Online. <zimmedia@africaonline.co.zw>. "Mama Africa."
<http://www.zimmedia.com/mama_africa/index.html>. November 25, 2000.
Zimmedia’s new short film series Mama Africa showcases
the talent of six prominent African women filmmakers: Raji Amari, Ngozi Onwhora, Fanta Nacro, Zulfah Otto, Bridgett
Pickering, and Ingrid Sinclair. The purpose of this website and film project is to present six short films that defying
and challenge the common stereotypes of the black woman. Each of the six filmmakers are pictured and their films are briefly
discussed. The site also contains the comments of the series director and
producer, and a synopsis of the project. ****
|
|
|
|
|
|
|
|
OTHER WEBSITES TO SEARCH FOR INFORMATION ON BLACK WOMEN FILMMAKERShttp://everythingblack.com
HOME BOOKS PERIODICALS WEBS OTHER WEBS FILMOGRAPHIES BIOGRAPHIES
FILMOGRAPHYhttp://dickinsg.intrasun.tcnj.edu/dust/
HOME BOOKS PERIODICALS WEBS OTHER WEBS FILMOGRAPHIES BIOGRAPHIES BIOGRAPHICAL INFORMATION ABOUT BLACK WOMEN FILMMAKERSDash, Julie http://geechee.com/juliebio.htmlDavis, Zeinabu Irene http://www.wwamp.com/bio_zeinabu.html
HOME BOOKS PERIODICALS WEBS OTHER WEBS FILMOGRAPHIES BIOGRAPHIES