Podcast appearances and mentions of Julie Dash

“I'm a fully grown woman.  I don't have to mind what I say.” Daughters of the Dust (1991) written and directed by Julie Dash and starring Cora Lee Day, Alva Rogers, Cheryl Lynn Bruce, Barbara-O and Vertamae Smart-Grosvenor Next Time: To Sir, with Love (1967)

Estrenada en 1991, en el Festival de Sundance, Daughters of the Dust es la quintaesencia del filme independiente de esos años: realizada por al margen de la industria, con una puesta en escena absolutamente singular y por un equipo que jamás pensó en integrarse al mainstream. No es exactamente teatro filmado, pero sus textos están declamados. No es cine-ensayo, pero la tesis que sustenta el relato es casi más importante que éste. En su tiempo fue clasificada junto a los filmes de Spike Lee, John Singleton y Charles Burnett, pero en rigor no está conectado con ninguno de ellos y sí mucho más al L.A. Rebellion, una corriente de artistas y activistas que tardaría en dejar real huella en el cine estadounidense. Estas "hijas del polvo" tienen su base en la inevitable migración y deriva de la población negra, acosada por el racismo, la pobreza y la vulnerabilidad, décadas después de la emancipación de la esclavitud y la guerra civil: ambientada en el seno de la población Gullah —un grupo de familias que se afincó en la isla de Saint Helena (en Carolina del Norte) desarrollando incluso su propio dialecto— la película dramatiza el picnic de la familia Peazant, al borde del mar que los separa del continente. Es el último que tendrán antes de partir, en un viaje que será tan frágil como monumental. De eso y más se habla en este podcast.

Film Forum's Director Sonya Chung talks with filmmaker, novelist, and memoirist Bridgett M. Davis on the occasion of the restoration and release of her 1996 film NAKED ACTS — which will screen at FF on Thursday, June 6 at 7:00. Davis shares her influences and inspirations, including Julie Dash and Kathleen Collins, her passion for storytelling in multiple genres, and her return to filmmaking after 30 years.

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

This fifth edition of Film, Form, and Culture (Routledge, 2024) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores how films are constructed from part to whole: from the smallest unit of the shot to the way shots are edited together to create narrative. Robert P. Kolker and Marsha Gordon demystify the technical aspects of filmmaking and demonstrate how fiction and nonfiction films engage with culture. Over 265 images provide a visual index to the films and issues being discussed. This new edition includes: an expanded examination of digital filmmaking and distribution in the age of streaming; attention to superhero films throughout; a significantly longer chapter on global cinema with new or enlarged sections on a variety of national cinemas (including cinema from Nigeria, Senegal, Burkina Faso, South Korea, Japan, India, Belgium, and Iran); new or expanded discussions of directors, including Alice Guy-Blaché, Lois Weber, Oscar Micheaux, Agnès Varda, Spike Lee, Julie Dash, Jafar Panahi, Ava DuVernay, Jane Campion, Jean-Pierre and Luc Dardenne and Penny Lane; and new, in-depth explorations of films, including Within Our Gates (1919), Black Girl (1966), Creed (2015), Moonlight (2016), Wonder Woman (2017), Get Out (2017), Black Panther (2018), Parasite (2019), Da 5 Bloods (2020), The French Dispatch (2021), The Power of the Dog (2021), RRR (2022), and Tár (2022). Robert P. Kolker is Professor Emeritus at the University of Maryland, College Park, USA. He is the author/editor of several books on film including The Oxford Handbook of Film and Media Studies (2008), A Cinema of Loneliness, 4th edition (2011), The Cultures of American Film (2014), The Extraordinary Image: Orson Welles, Alfred Hitchcock, Stanley Kubrick, and the Reimagining of Cinema (2016), Politics Goes to the Movies (2018), Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film (2019), and, with Nathan Abrams, Kubrick: An Odyssey (2024). Marsha Gordon is Professor and Director of Film Studies at North Carolina State University, USA. She is the author of Becoming the Ex-Wife: The Unconventional Life & Forgotten Writings of Ursula Parrott (2023), Film is Like a Battleground: Sam Fuller's War Movies (2017), and Hollywood Ambitions: Celebrity in the Movie Age (2008), and co-editor of Screening Race in American Nontheatrical Film (2019) and Learning With the Lights Off: Educational Film in the United States (2012). Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers (2016), he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His work also appears on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

What would it mean if the voice of God were a woman? Many of you are familiar with my beloved returning guest and Scholar, Dr. Celene Lillie, from our episode together about her book The Rape of Eve an episode that continues to be one of my most popular. Today she joins me for an inspiring, evocative, gender-bending, and ever-twisting exploration of an ancient text known as The Thunder Perfect Mind, the self-portrait of a divine feminine being. In this episode we discuss this ancient text which sustains itself for some nine pages of papyrus - sometimes commanding the scene like a goddess, other times disdained and thrown down in the dirt, she keeps challenging those around her. Still other times, she shape-shifts into a masculine form or intentionally contradicts conventional expectations of her previous utterance. Like many other important ancient scripts, The Thunder: Perfect Mind was discovered in rural Egypt, where the dry air inhibits decay of ancient material. Thunder belongs to the increasingly famous Nag Hammadi collection of what appear to be mostly early Christian documents, all found in the same jar in the hills above the Nile. It is likely that the Nag Hammadi documents had been collected by an early desert monastic community. Found in the mid-twentieth century and translated within several decades afterward, these documents were initially published in English in 1977, but only accessible to the general public within the last generation. Thunder was one of 52 Nag Hammadi documents. Thunder has nevertheless already distinguished itself in public consciousness and has captured the imaginations of many. It stands vigil at the beginning of award-winning novelist Toni Morrison's works Jazz and Paradise. Umberto Eco also cited it in his novel Foucault's Pendulum. Julie Dash's award-winning 1991 feature film, Daughters of the Dust, opens with a long citation fromThunder. Its text also anchors a 2005 film by Jordon and Ridley Scott, whose shortened version has appeared widely as a commercial for Prada women's fashions. More in this episode: Why you can not utter the name of God in Hebrew and how it can be spoken through the breath Learn how women once occupied a huge range of possibilities before patriarchal rule Hear the deeper meanings of THUNDER and why these texts have been considered “seminal” Learn why this piece pushes against our contemporary notions of what is possible and inspires our imaginations Why the word “occupy” can be so problematic and how we can bring more nuance to our understanding of embodiment How the poem THE THUNDER PERFECT MIND invites us to claim all of our “stuff” and be with the messiness of our lives without being diminished by them How Human Design and The Gene Keys give us freedom from being “all things to all people” Why The Thunder Perfect Mind is medicine for what is happening in the world at this time Celene Lillie is Lecturer in Religious Studies at the University of Colorado Boulder; an Adjunct Professor at the University of Oklahoma and The Seattle School of Theology and Psychology; and the Dean of the Westar Institute's forthcoming Academy (launching this Fall). Her scholarly work focuses the New Testament, the Nag Hammadi Codices, and other early literature of the Jesus movement, with a particular interest in gender and violence. She is the author of The Rape of Eve: The Transformation of Roman Ideology in Three Early Retellings of Genesis; co-author (with Jaeda Calloway, Maia Kotrosits, Justin Lasser, and Hal Taussig) of The Thunder: Perfect Mind: A New Translation and Introduction; and Director of Translations for A New New Testament (edited by Hal Taussig). If I were to name one connected specifically to my work, I'm interested in bringing forth voices that are typically marginalized or hidden in early Christian literature. Special Guest: Celene Lillie.

In this episode of What a Picture, Bryan and Hannah kick it on an island to discuss Daughters of the Dust, the 1991 movie directed by Julie Dash that ranks #60 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll. Music is "Phaser" by Static in Verona.

On this special episode of The Letterboxd Show, Mia chats with Cheryl Dunye about the Criterion Collection's new release of her groundbreaking 1996 film The Watermelon Woman, which was the first feature directed by an out Black lesbian. Written, directed and starring Cheryl herself, The Watermelon Woman follows a young Black lesbian who works a day job in a video store while trying to make a film about a Black actress from the 1930s, known for playing the stereotypical “mammy” roles relegated to Black actresses during that period. Cheryl talks to Mia about her signature “Dunyementaries,” finding cinematic inspiration from the likes of Julie Dash and Charles Burnett, and how sometimes you have to create your own history. Sponsor: Searchlight Pictures presents Theatre Camp playing in select theatres on July 14. Credits: Recorded in Los Angeles, CA. Edited by Slim. Theme music: “Vampiros Danceoteque” by Moniker. Editorial producer: Brian Formo. Production manager: Sophie Shin. The Letterboxd Show and Weekend Watchlist are TAPEDECK productions.

Mella from When Cinephiles Attack returns to the podcast to discuss Julie Dash's first and only theatrical feature. We interrogate the movie's place in film history, discuss the origins of the L.A. Rebellion and find a profound sense of meaning in license plates. @Mell_Bell @CinephileAttack @creamatoria @austin_hayden @CineMythology cinemythologypod@gmail.com

Ep. 170: K.J. Relth-Miller on the VardaVerse, Neptune Frost, Pat Rocco, Titanic 3D, and more Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This week I'm delighted to welcome the wonderful K.J. Relth-Miller of the Academy Museum of Motion Pictures in Los Angeles. We discuss selections from the Academy Museum program “Enter the VardaVerse: Women's Liberation Through Film, 1971–1977” including Agnes Varda's One Sings, The Other Doesn't and Julie Dash's rarely shown UCLA film Diary of an African Nun. Relth-Miller also talks about the contemporary films she teaches at CalArts, and a couple of filmmakers who captured Los Angeles: Melvin Van Peebles and Pat Rocco. Plus: Titanic 3D! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

This week on the BIG show, our panel will discuss the release of Slate Magazine and NPR's list of the 75 best films from Black directors, called The New Black Film Canon.The list features films over the past century highlighting work from luminaries such as Oscar Micheaux, Spencer Williams, Ousime Sembene, Spike Lee, Melvin Van Peebles, Julie Dash, Gina Prince-Bythewood, and a host of others. Plus, Chris Rock is poised to make history this weekend with his new comedy special, Outrage.Over the next hour, we'll talk about which films SHOULD have made the list and does this new list truly encompass the entirety of the true Black experience in film.We'll have all of that and more on Episode 528 of Keeping It Reel with FilmGordonThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4671407/advertisement

This week on the BIG show, our panel will discuss the release of Slate Magazine and NPR's list of the 75 best films from Black directors, called The New Black Film Canon.The list features films over the past century highlighting work from luminaries such as Oscar Micheaux, Spencer Williams, Ousime Sembene, Spike Lee, Melvin Van Peebles, Julie Dash, Gina Prince-Bythewood, and a host of others. Plus, Chris Rock is poised to make history this weekend with his new comedy special, Outrage.Over the next hour, we'll talk about which films SHOULD have made the list and does this new list truly encompass the entirety of the true Black experience in film.We'll have all of that and more on Episode 528 of Keeping It Reel with FilmGordonThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4671407/advertisement

Gay homosexuals Nick and Joseph discuss Daughters of the Dust - a 1991 independent film written, directed and produced by Julie Dash. Additional topics include: Winners at the 73rd Berlin International Film Festival Why Joseph hated working at the front desk and why Nick shouldn't work in customer service "Angela Bassett did the thing" The death of Barbara Bosson And too many films to mention Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046 Find merch here: https://fishjellyfilmreviews.myspreadshop.com/all Venmo @fishjelly Find them on Letterboxd: https://letterboxd.com/ragingbells/, https://letterboxd.com/joroyolo/ Nick's Apple Music playlist: https://music.apple.com/us/playlist/lamour-de-nico/pl.u-PDb4zlpsLVrvqE1 Joseph's Apple Music playlist: https://music.apple.com/us/playlist/josephs-vibe/pl.u-6mo448yuBWzNE1 Check them out on YouTube: https://www.youtube.com/channel/UChVV6ezEYnPv9XaLZtUlZdw Nick's IG: ragingbells Joseph's IG: joroyolo --- Support this podcast: https://anchor.fm/fish-jelly/support

“I am the first and the last." It's Black History Month and we're celebrating by watching films that talk about the history of the African-American people. This month we're focusing on "Black History Stories" and we're starting it off with Julie Dash's 'Daughters of the Dust'. Winner of the Cinematography Award at the Sundance Film Festival, this is a beautiful movie that happens to be the first feature film directed by an African-American woman distributed theatrically in the United States. So who are the Gullah people and how well did this movie reflect their culture? How did the non-linear storyline work for us? All of that, pair this up with our selections at the Adam Driver Drive-In Double Feature (shout out Beyoncé)! Chapters 0:00 Intro 1:45 Movie/Round Intro 6:02 First Impressions 18:38 Elevator Pitch 29:31 Favorite Shots 35:13 Adam Driver Drive-In Double Feature 41:26 Outro OUR WEBSITE OUR SOCIAL MEDIA Music: Umbels Support Us #threefilmspod #indiepodcast #daughtersofthedust #juliedash #gullahgeechee #blackhistorymonth #blackhistory #coraleeday #daughtersofthedustmoviereview #daughtersofthedustmovieessay #daughtersofthedustmovie #daughtersofthedustfilm #daughtersofthedustfilmreview #daughtersofthedustfilmessay #filmreviews #moviereviews #filmessays #movieessays #movies #films #videopodcast #subscribe #patreon #patron #youtube #youtubechannel #youtuber #moviereactions #youtubevideos #youtubereactions --- Send in a voice message: https://anchor.fm/threefilmspod/message

It is indeed the episode a decade in the making! Here, in Episode 43, Team Vintage Sand puts in its collective two cents on the newly released Sight and Sound decennial poll of the greatest films of all time. It is a list referred to by no less an authority than Roger Ebert as “the best damned film list of them all.” But this time, was it a “woke” poll, reflecting more our need for political correctness than a genuine and deep understanding of film history, as old-timers like Paul Schrader proclaimed? Or was it about damn time that the old white men gave up at least some of the strangle hold they've had on the poll since its inception in 1952, as many younger critics proclaimed? Does this new list signify that the battle lines have been drawn irrevocably between older and younger film people? As always, the truth is never that simple. Team Vintage Sand tries to approach the poll by avoiding either extreme, oversimplified position, reaching, as ever, for the complex and embracing the gray. Does Akerman's "Jeanne Dielman" deserve its new place atop the rankings? Probably not, but it surely is a much better film than its position in the mid-30's for the 2012 edition of the poll suggested. And if the poll is so politically correct, why are there no films by the Mexican New Wavers here? Along these same lines, 16 of the 22 directors who have multiple entries on the list are white men; four of the remaining six are Asian men. Yes, there are no films by Howard Hawks or Roman Polanski. No Buñuel. No Lean. No Altman. No Demy, or Melville, or Resnais. No Sternberg or Stroheim. No Huston. No Malick. No Tarantino. No Anderson, be it Wes or P.T. No Coen Brothers. No Linklater. No Spielberg, for goodness' sake! No silent films in the Top 10, and all the silent films that are still there from 2012, with the exception of "City Lights", plummeted to the nether reaches of the list. (If anyone tells me that there are 20 films greater than "The Passion of Joan of Arc", it's ON!) And yet… …there's "Do The Right Thing" entering the list at #24. FINALLY. And there's Burnett's brilliant "Killer of Sheep". And Dash's "Daughters of the Dust". Maybe now someone will give her some money to make a second film, three full decades after she released a Top 100 masterpiece. And there, brand spanking new, are Jordan Peele and Barry Jenkins. And there's Agnes Varda's extraordinary "Cleo from 5 to 7" entering the list in the top 15. And my historical experimental film crush Maya Deren is finally here as well for her extraordinary and endlessly influential "Meshes of the Afternoon". And Claire Denis in the Top 10. And Jane Campion, Barbara Loden(!), Celine Sciamma and the aforementioned Julie Dash. If it took some “woke” (whatever that means) younger critics to put these artists in their rightful places in the pantheon, we'll take it. Ultimately, we recognize the silly waste of energy in trying to compare, say, "Jeanne Dielman" with "Tokyo Story" with "In the Mood for Love" with "Man with a Movie Camera". For us, this poll has one purpose only, and it's the same purpose that guides what we do at Vintage Sand: it opens doors. It takes us out of our comfort zone as viewers, and reminds us that there are vast aspects of film history about which we know little or nothing. So look carefully at Sight and Sound 2022 through this lens, check off the films you haven't seen yet or not in a long time anyway, and track them down. We'll bring the popcorn!

In this eye-opening documentary, BRAINWASHED: SEX-CAMERA-POWER, celebrated independent filmmaker Nina Menkes explores the sexual politics of cinematic shot design. Using clips from hundreds of movies we all know and love – from METROPOLIS to VERTIGO to PHANTOM THREAD – Menkes convincingly makes the argument that shot design is gendered. BRAINWASHED: SEX-CAMERA-POWER illuminates the patriarchal narrative codes that hide within supposedly “classic” set-ups and camera angles, and demonstrates how women are frequently displayed as objects for the use, support, and pleasure of male subjects. Building on the essential work of Laura Mulvey and other feminist writers, Menkes shows how these not-so-subtle embedded messages affect and intersect with the twin epidemics of sexual abuse and assault, as well as employment discrimination against women, especially in the film industry. The film features interviews with an all-star cast of women and non-binary industry professionals including Julie Dash, Penelope Spheeris, Charlyne Yi, Joey Soloway, Catherine Hardwicke, Eliza Hittman, and Rosanna Arquette. Director Nina Menkes joins us for a conversation on how and why she crafted BRAINWASHED to be seen as a call-to-action that can fundamentally change the way you see, and watch, movies. For more go to: kinomarquee.com/Brainwashed

This week we're going back to 1902 and the Sea Islands with Daughters of the Dust! Join us as we talk about Gullah quilting practices, the Wanderer, African-American migration to Canada, and more! Sources: Kathy J. Brown, "Gullah Geechee Visuality as Protest Art, Contemplative Practice, and Anti-Racist Pedagogy," The Journal of Contemplative Inquiry 9, no.1 (2022): 22-42. Betsey Poore, "Living History Captures the Essence of Gullah," (9 July 2013). https://islandconnectionnews.com/living-history-captures-the-essence-of-gullah/  Arthur Chisolm, "#146 Part 1 Gullah Rag Quilting Workshop," (31 January 2013). https://www.youtube.com/watch?v=hPAtavj-Rh4&ab_channel=ArthurChisolm  D. Chongo Mundende, "African American Exodus to Canada," Oklahoma Historical Society, https://www.okhistory.org/publications/enc/entry.php?entry=AF001 Steve Schwinghamer, "The Colour Bar at the Canadian Border: Black American Farmers," Canadian Museum of Immigration at Pier 21, https://pier21.ca/research/immigration-history/black-american-farmers https://ansa.novascotia.ca/community https://www.tompsc.com/DocumentCenter/View/5624 Roger Ebert's Review: https://www.rogerebert.com/reviews/daughters-of-the-dust-1992 Wiki: https://en.wikipedia.org/wiki/Daughters_of_the_Dust Interview with Julie Dash: https://www.rogerebert.com/interviews/we-have-a-lifetime-of-stories-to-tell-julie-dash-on-daughters-of-the-dust Charles J Montgomery, "Survivors From the Cargo of the Negro Slave Yacht Wanderer," American Anthropologist. Livia Gershon, "This Yacht Trafficked Enslaved Africans Long After the Slave Trade Was Abolished," Smithsonian Magazine, available at https://www.smithsonianmag.com/smart-news/louisiana-museum-remembers-yacht-turned-slave-ship-180977653/  

Acompanhe as principais informações, destaques, novidades e dicas culturais da semana. “Mostra Clássicas”: O evento faz uma homenagem ao mês em que se comemora o Dia Internacional da Mulher com recortes de filmes comandados por grandes diretoras da história do cinema, como Julie Dash, Ana Carolina e Agnès Varda.  “Febre”: Com direção de Márcio Abreu e texto de Paulo André, a obra narra a história de um casal que resolve viver as últimas horas que antecedem o fim de um mundo com o qual todos estão acostumados. O link de acesso às exibições você encontra em nosso site: alvoradafm.com.br  See omnystudio.com/listener for privacy information.

Filmmaker and award-winning director, Julie Dash who directed the recent ABC limited series Women of the Movement based on the real-life events around Mamie Till-Mobley's attempts to get justice for the brutal murder of her 14-year old son Emmett Till in the Jim Crow South of 1955. Mamie Till-Mobley's activism for justice would accelerate the Civil Rights Movement. Julie Dash broke through racial and gender boundaries with her Sundance award-winning film (Best Cinematography) Daughters of the Dust (1991). She became the first African American woman to have a wide theatrical release of her feature film. The Library of Congress placed Daughters of the Dust and her UCLA Master of Fine Arts senior thesis Illusions (1982) in the National Film Registry. We talk with Julie Dash about: Her film and television work in historical drama, including Women of the Movement; the influence of Black women writers and cultural workers in her creative work; and the impact of bringing untold stories from history to the screen, particularly how we believe and remember history --- Support this podcast: https://anchor.fm/historicaldramasisters/support

*TW/CW - Talks of Racism, Sexual Assault and Suicide*0:00 - Intro & Summary2:00 - Movie Discussion46:49 - Cast & Crew54:14 - Awards54:56 - Pop Culture/TV1:09:20 - Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

NASA defines a supernova as “the last hurrah” of a dying star. But what do supernovas and Black leading women in Hollywood have in common? That's what Philana Payton, doctoral candidate for Cinema and Media Studies at USC is searching to answer in her dissertation, “Celestial Bodies: Black Women, Hollywood, and the Fallacy of Stardom.” Payton visited the IU campus this past February to present Claudine during the ‘Love! I'm in Love!' film series. Payton was awarded the 2nd Annual Graduate Student Writing Prize from the SCMS Black Caucus for her essay, "Claudine, The Original Welfare Queen: Diahann Carroll and the Disruption of Respectability." Here, Payton talks about her dissertation work in detailing out the similarities in timelines of stars Lena Horne, Eartha Kitt, Dorothy Dandridge, and Whitney Houston. Payton discusses how the stark lack of structure and support built for black women performers in Hollywood led to an internal implosion and how their stardom contrasted with those of white stars. Building onto the discussion of star theory, Payton elaborates on how past Black women performers of Hollywood have shined brighter than the rest but ultimately died out too early. Topics Discussed: 0:00-4:00 – Introductions, including clip from Julie Dash's classic, Daughters of the Dust 4:00-11:15 - Introductions including astrology charts and the lived inspiration of feeling closer to the moon in L.A. 11:20-16:50 - Growing up in Atlanta, being an athlete, an early appreciation of art, and Whitney Huston 16:50-21:50 - Starting out in film scholarship and first readings of Bell Hooks 19:45-52:00 - In-depth discussion of dissertation beginning from how Payton first identified seeing Whitney Houston's story, with Lena Horne and Eartha Kitt as precursors. Being a black woman academic. 53:05-1:06:00 - Beyond the supernova and how Payton envisions her work extending beyond to care for present and future generations of cultural and even academic icons, discussing current icons Beyoncé, Halle Berry, and Angela Bassett. 1:05:45-1:16:32 - The impact of Diahann Carroll's performance in Claudine and how the film portrays the U.S. structure of racism and poverty. Frame By Frame is hosted by Dr. Terri Francis Theme music provided by BRZ with additional music from André Seewood and Deija Lighon Production by David Carter, Deonna Weatherly and Bria McCarty Notes and episode descriptions were written by Yeeseon Chae with additional assistance from David Carter The views, information, or opinions expressed on the Black Film Center & Archive audio series are solely those of the individuals involved and do not necessarily represent those of The Trustees of Indiana University ("IU") and/or its employees. IU is not responsible for and does not verify the accuracy of the content contained in this podcast. This podcast and its content are available for private, non-commercial use only. You may not reproduce, display, distribute, modify, or perform any of the content contained in this blog without the prior express written approval of the Black Film Center & and Archive.”

Nesse episódio conversamos sobre o filme Filhas do Pó (Daughters of Dust, 1991), escrito e dirigido por Julie Dash, que completa 30 anos de lançamento. Abordamos a poética muito particular da obra e as noções de localidade, ancestralidade e pertencimento que a perpassam. O programa é apresentado por Isabel Wittmann e a convidada especial Carissa Vieira, do Canal Carissa Vieira e do podcast Biscoiteras. Feedback: contato@feitoporelas.com.br Mais informações: https://feitoporelas.com.br/feito-por-elas-154-filhas-do-po Feedback: contato@feitoporelas.com.br Pesquisa, pauta e roteiro: Isabel Wittmann e Carissa Vieira Produção: Isabel Wittmann Edição: Domenica Mendes Arte da capa: Amanda Menezes http://www.behance.net/tupiguarana Vinheta: Felipe Ayres Locução da vinheta: Deborah Garcia (deh.gbf@gmail.com) Música de encerramento: Bad Ideas - Silent Film Dark de Kevin MacLeod está licenciada sob uma licença Creative Commons Attribution (https://creativecommons.org/licenses/by/4.0/) Origem: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100489 Artista: http://incompetech.com/ Agradecimento: Carolina Ronconi, Leticia Santinon, Lorena Luz, Isadora Oliveira Prata e Tiago Maia Assine nosso Padrim http://www.padrim.com.br/feitoporelas Assine nosso Patreon http://www.patreon.com/feitoporelas Assine nosso Catarse https://www.catarse.me/feitoporelas Links patrocinados (Como associado da Amazon, recebemos por compras qualificadas): [LIVRO] Cinema Soviético de Mulheres https://amzn.to/3lnC37b [LIVRO] Mulheres Atrás das Câmeras- As cineastas brasileiras de 1930 a 2018 https://amzn.to/3AC6wnl Mencionados: [VOTAÇÃO] Troféu Alice 2021 https://forms.gle/W6qARomNNSySXbor6 [YOUTUBE] Canal Carissa Vieira https://youtube.com/c/CarissaVieira [INSTAGRAM] Carissa Vieira https://instagram.com/carissinhavieira?utm_medium=copy_link [PODCAST] Biscoiteiras https://anchor.fm/biscoiteirascast/ [ENTREVISTA] Without Living in the Folds of Our Wounds: A Conversation with Julie Dash, por Aaron E. Hunt, para Notebook-Mubi https://mubi.com/notebook/posts/without-living-in-the-folds-of-our-wounds-a-conversation-with-julie-dash [FILME] Amor Maldito (1984), dir. Adélia Sampaio [FILME] Beyoncé: Lemonade (2016), dir. Beyoncé  [FILME] Pantera Negra (Black Panther, 2018), dir. Ryan Coogler] [FILME] O Caso do Homem Errado (2017), dir. Camila de Moraes [FILME] Selma: Uma Luta Pela Igualdade (Selma, 2014), dir. Ava DuVernay [FILME] Uma Dobra no Tempo (A Wrinkle in Time, 2018), dir. Ava DuVernay [SERIADO] Queen Sugar (2016-), criado por Ava DuVernay [SERIADO] Atlanta (2016 -), criado Donald Glover [LIVRO] Kindred, de Octavia Butler [VÍDEO] Lemonade: Film Allusion https://youtu.be/36-Uqk3VFkg Relacionados: [PODCAST] Feito por Elas #36 Ava DuVernay https://feitoporelas.com.br/feito-por-elas-36-ava-duvernay/ [PODCAST] Feito por Elas #13 Alice Guy https://feitoporelas.com.br/feito-por-elas-13-alice-guy/

« La sororité est un choix où le pouvoir individuel abdique au profit d’une force collective bientôt prête à l’action », expliquait Chloé Delaume dans Sororité. Se réunir pour mieux combattre le patriarcat en mettant de côté nos différences de classes et de races : c’est ce que veut la sororité. D’où vient le terme de “sororité” ? Qui en fait partie ? Comment a-t-il évolué dans le temps en fonction des mouvements sociaux ? Existe-il une condition commune aux femmes, comme le défend la poétesse Robin Morgan ? Clémentine Gallot et Emeline Amétis nous éclairent sur cette notion pour plus de sororité.Les références entendues dans l’épisode : Chloé Delaume, Sororité, Points Féminismes (2021)Chloé Delaume, Mes bien chères soeurs, Fiction & Cien (2019)Laurent Filippi, “Les femmes, «épine dorsale» du Black Panther Party”, Franceinfo (2018)Black Cultural Archives, “The Black Women’s Movement”, OWAAD Pamphlet (1978)Robin Morgan, Sisterhood is powerful: An Anthology of Writings from the Women's Liberation Movement, Random House USA Inc (1970)Emilie Brouze et Rémi Noyon, “Au fait, d'où vient cette "sororité" sans cesse invoquée par Marlène Schiappa ?”, L’OBS (2018)Iona Cîrstocea, “La « sororité » à l'épreuve : pratiquer l'internationalisme féministe au lendemain de la guerre froide”, Cairn (2015)Bell Hooks, Sisterhood: Political Solidarity between Women, Sage Publications Inc (1986)Alice Coffin, Le génie lesbien, Grasset (2020)Viviane Albenga et Johanna Dagorn, “Après #MeToo : Réappropriation de la sororité et résistances pratiques d’étudiantes françaises”, Cairn (2019)Amanda Michel, “Black Sisterhood Is Helping Women Get Through This Moment in History”, Cosmopolitan (2020)Rhaina Cohen, “What If Friendship, Not Marriage, Was at the Center of Life?”, The Atlantic (2020) Aminatou Sow et Ann Friedman, Big Friendship: How We Keep Each Other Close, Simon & Schuster (2020)Chloé Delaume, Le coeur synthétique, Seuil (2020)La Leçon, le podcast sur l’art d’échouer, épisode 84 - Pénélope Bagieu “Je ne ferai plus jamais passer un mec avant ma pote”, Pauline Grisoni (2021)Emma Donada et Anais Condomines, “Pourquoi le «HuffPost» a-t-il dépublié une tribune sur les femmes trans ?”, Libération (2020) Maïlis Rey-Bethbeder, “Marre de la fraternité et de la sororité ? Essayez l’adelphité”, Elle (2021)Estelle-Sarah Bulle, Là où les chiens aboient par la queue, Liana Lévi (2018)Hélène Guinhut, “Sororité à toutes les sauces : progrès ou overdose ?”, Elle (2021)La newsletter Sorocité, “Sororcité au choeur des féminismes”Le podcast Sorociné de Pauline Mallet, Amandine Dall’omo et Laura Enjovly Sois belle et tais-toi, de Delphine Seyrig (1977) Le Club des ex, de Hugh Wilson (1996)Portrait de la jeune fille en feu, de Céline Sciamma (2019)Thelma et Louise, de Ridley Scott (1991)Better things, de Louis C.K. et Pamela Adlon (2016)Notre petite soeur, de Hirokazu Kore-eda (2014)The Wild, de Steve « Spaz » Williams (2006)Sister Sister, de Fred Shafferman, Kim Bass et Gary Gilbert (1994)Charmed, d' aAron Spelling (1998)Les filles du Docteur March, de Greta Gerwig (2019)Daughters of The Dust, de Julie Dash (1991)L’album de Vitaa, Amel Bent et Camélia Jordana, « Sorore » Audre Lorde, Zami, une autre façon de dire mon nom (1982)Audre Lorde, Sister Outsider (2018)Marion Zimmer Bradley, Chroniques de Ténébreuse (1981)Mourning, march and celebration, de Claire Zaniolo (2020)La série Veneno, de Javier Ambrossi et Javier Calvo (2020)Why Are You Like This ? de Mark Samual Bonanno, Naomi Higgins, Humyara Mahbub (2020)Quoi de Meuf est une émission de Nouvelles Écoutes, rédaction en chef: Clémentine Gallot .Journaliste chroniqueuse: Emeline Amétis. Prise de son par Adrien Beccaria à l’Arrière Boutique. Mixage Laurie Galligani. Générique réalisé par Aurore Meyer Mahieu. Réalisation, montage et coordination Ashley Tola.

Dan and Alonso welcome Shantrelle P. Lewis, who discusses her new Netflix documentary IN OUR MOTHERS' GARDENS (2021) and the inspiration she drew from Julie Dash's groundbreaking independent feature DAUGHTERS OF THE DUST (1991). Follow us @filmandmoviepod on Twitter, Instagram, and Facebook, and leave us a five-star review on Apple Podcasts or wherever you get your episodes.Follow Shantrelle on Instagram: https://www.instagram.com/apshantology/IN OUR MOTHERS' GARDENS premieres on Netflix May 6: http://www.arraynow.com/in-our-mothers-gardensDAUGHTERS OF THE DUST is streaming on Criterion Channel https://www.criterionchannel.com/daughters-of-the-dust and Kanopy https://kanopy.com/video/daughters-dustShantrelle recommends EVE'S BAYOU https://www.amazon.com/gp/video/detail/B00D5VYC9Q/?tag=alonsoduralde-20Alonso recommends PARIAH https://www.netflix.com/title/70169901 and LOVERS ROCK https://www.amazon.com/Lovers-Rock/dp/B08J5DCR24/?tag=alonsoduralde-20

Daughters of the Dust, set in 1902, is a languid look at the Gullah culture of the sea islands off the coast of South Carolina and Georgia where African folk-ways were maintained well into the 20th Century and was one of the last bastions of these mores in America. Some interesting facts about Daughters of the DustThis independent film, premiered in 1991 and was written, produced and directed by Julie Dash.In 2004, it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant".In 2016, it was restored and re-released by Cohen Media Group.Some things that surprised Livia & Zainab about Daughters of the DustLivia: The film was elegant, beautiful and non-confrontational with a poetic narrative, while depicting a significant and shattering time in the history of the Gullah community.Zainab:  The film seemed to portray an authentic depiction of the Gullah community while using a poetic narrative with themes of hyperfeminism. It was very evident that the director was  thoughtful, intimate and intentional with the story every step of the way.Follow along as Livia & Zainab review Daughters of the Dust and discuss how history and culture influence our sense of self and identity. They also rate the film by critically reviewing four key elements of filmmaking: Storytelling, Cinematography, Character Development and Overall Message. Music CreditTheme Song: The Way by  KAR33MMusic: Purple Planet Music

Julie Dash is one of the most brilliant filmmakers of our time. She made the landmark 1991 film Daughters of the Dust. It’s one of the Blackest movies ever made. She’s a filmmaking genius and we talk in depth about the craft, her feelings on film today, and the making of her legendary film. This is a Patreon exclusive. Support us at Patreon.co/toureshow for just $5 a month and get our Friday Patreon exclusives and the entire 60 minute version of our Wednesday interviews and help support the show so we can keep this going!Patreon.com/toureshowInstagram: @toureshowTwitter: @toureToure Show Episode 224Host & Writer: TouréSenior Producer: Jackie GarofanoAssistant Producer: Adell ColemanEditor: Ryan WoodhallPhotographers: Chuck Marcus and Shanta CovingtonBooker: Claudia JeanThe House: DCP Entertainment See acast.com/privacy for privacy and opt-out information.

Julie Dash's Daughters of the Dust (1991) is a groundbreaking and timeless film. It was the first feature film directed by an African-American woman distributed theatrically in the United States. It was a visual and artistic triumph, earning a Best Cinematography award at Sundance for Director of Photography Arthur Jafa.… The post Episode 152 – Daughters of the Dust appeared first on The Magic Lantern.

Ways to support the Podcast and Black Women StitchMake a one-time donation here at our Act Blue siteSustained financial support also appreciated here: For as little as $2 a month, you can join our  PatreonFREE SUPPORT Is also appreciated. Please rate, review, subscribe to the podcast. Tell a friend to do the same!  Find Alissa Bertrand and JaBellaFleur Jabellafleur on InstagramInterview on Junior StyleThings Mentioned in the episodeSewn MagazineDaughters of the Dust, Julie Dash's 1991 filmLemonade, Beyonce visual albumLOL DollsAlissa's phone: iPhone XRSupport the Stitch Please podcast and Black Women Stitch

This episode is dedicated to female film & TV directors worldwide bringing storytelling greatness and unprecedented representation onscreen and off. Love to Chantal Ackerman, Dee Rees, Kathryn Bigelow, Kasi Lemmons, Ida Lupino, Joanna Hogg, Nicole Holofcener, Sofia Coppola, Isabel Coixet, Kelly Reichardt, Gina Prince-Bythewood, Dorothy Arzner, Phoebe Waller-Bridge, Lulu Wang, Kimberly Reed, Patti Jenkins, Marielle Heller, Regina King, Alice Guy-Blache, Debra Granik, Agnieszka Holland, the Wachowskis, Barbara Kopple, Julie Dash, Yoko Ono, Greta Gerwig, Cheryl Dunye, Jane Campion, Melina Matsoukas, Catherine Hardwicke, Donna Deitch, Ana Lily Amirpour, Lina Wertmuller, Barbara Loden, Lucrecia Martel, Claire Denis, Sarah Polley, Maren Ade, Lisa Cholodenko, Miranda July, Dorota Kędzierzawska, Mary Harron, Barbara Streisand, Julie Taymor, Karyn Kusama, Kimberly Pierce, Alla Nazimova, Leslie Linka Glatter, Sara Driver, Kitty Green, Catherine Breillat, Josephine Decker, Lynne Ramsay, Ava DuVernay, Chloe Zhao, Mira Nair, Andrea Arnold and many more that will grow to many many many more. Brava!

Today on the podcast, we’re discussing Julie Dash’s lush and lyrical 1991 film Daughters of the Dust. Focusing on a multi-generational group of Gullah women on the eve of a life-altering move, this sweeping work was the first film directed by a Black woman to get a general theatrical release in the United States. 30 years later, the haunting and expressive film retains its striking impact.Time Stamps:3:49 - Main discussion on Daughters of the Dust44:34 - What’s your Freq Out?Ebony on the novel Song of Solomon by Toni MorrisonAnita on the film CODA written and directed by Sian HederLinks Mentioned:https://www2.bfi.org.uk/news-opinion/news-bfi/features/beyonce-lemonade-julie-dash-daughters-dusthttps://lareviewofbooks.org/article/uses-beauty-daughters-dust-diasporic-inheritance/http://www.newyorker.com/culture/richard-brody/the-return-of-julie-dashs-historic-daughters-of-the-dustFollow Us:Join our PatreonOur WebsiteSubscribe to FFR on Apple PodcastsSubscribe to our Star Trek PodcastTwitterInstagram

Filmmaker and artist Arthur Jafa joins Maori to discuss freedom, collective action as counter culture, the Black cinematic trajectory, and the importance of geography in forming our pictorial and musical traditions.

Director Julie Dash participates in a conversation with Melina Matsoukas on Dash's career as a filmmaker. She shares details from behind the scenes of her films (Daughters of the Dust, Travel Notes of Geechee Girl, The Rosa Parks Story) and talks about her desire to present narratives with authenticity.

In this episode, I talk about RaMell Ross's 2018 documentary, "Hale County This Morning, This Evening." In 2009, RaMell Ross moved to Hale County in Alabama to teach photography and coach basketball. While living there, he started to film the people around him. He recorded over 1300 hours of footage. From that material, he culled and mined images that are startling, poetic, and beautiful--images that bear witness to the complexities and struggles of black life in the rural South. Through the documentary, we are introduced to two men: Quincy Bryant and Daniel Collins. As the film unfolds, we come to know their dreams, their hardships, and the world they live in--a world of basketball, catfish plants, friends, sunsets, storm clouds, rain, and all the details that make up their ordinary lives. This is a contemplative, lyrical, and unforgettable documentary. There are spoilers in this episode. Consider making this podcast sustainable by supporting it on Patreon.Subscribe to the Her Head in Films Newsletter.Follow me on Facebook, Twitter, Tumblr, and Instagram.Original logo by Dhiyanah HassanFull Show Notes:My episode on Barry Jenkins's MoonlightMy episode on Julie Dash's Daughters of the DustMy episode on Kathleen Collins's Losing GroundCane RiverEve's BayouPariahJust Another Girl on the I.R.T.My episode on Terrence Malick's The Tree of LifeWilliam ChristenberryChantal Akerman's SouthTwo Towns of JasperI Am One of You Forever by Fred ChappellAll My Sources:"Filming the Black Belt: An Interview with RaMell Ross" (Dissent Magazine)"Sundance Interview: RaMell Ross" (Film Comment)"The God of the Camera is a Coloniser: An Interview with RaMell Ross" (Senses of Cinema)"The Whole Ocean: RaMell Ross on Hale County This Morning, This Evening" (RogerEbert.com)"Visionary Documentary Director RaMell Ross on the Beauty of Hale County" (Dazed Digital)

In this episode, I'm talking about Julie Dash's 1991 film Daughters of the Dust. This is a dreamlike film that focuses on the Peazant family who live on the sea islands off the coast of the Carolinas. They gather together for one last time on the eve of their departure from the island. It's a stunning cinematic achievement that looks at the bonds of family, the ghosts of history, and the rich lives of African American women. Dash has the distinction of being the first black woman to direct a feature film that was distributed in movie theaters. I talk all about this gorgeous film, including the grueling process of getting it made and I use an interview between Dash and feminist scholar, bell hooks, as a roadmap through the different themes and subjects that the film explores.  There are spoilers in this episode.Consider making this podcast sustainable by supporting it on Patreon.Subscribe to the Her Head in Films Newsletter.Follow me on Facebook, Twitter, Tumblr, and Instagram.Original logo by Dhiyanah HassanFull show notes:Beyonce's LemonadeBlack Lives MatterMy episode on MoonlightMy episode on Losing GroundCane RiverHale County This Morning, This EveningJust Another Girl on the I.R.TEve's BayouAgnes Varda box setThree Colors Blue box setMy episode on VagabondMy episode on Cleo from 5 to 7My episode on The Gleaners and IGullah Gullah IslandJames Van Der Zee"Why Are There So Few Black Directors in the Criterion Collection" (The New York Times)Milestone FilmsKinoMerchant IvoryJoaquin SorollaDee ReesAlison SaarMy Sources:Daughters of the Dust blu-rayDaughters of the Dust: The Making of an African American Woman's Film by Julie Dash, bell hooks, Toni Cade Bambara"Julie Dash to Direct Angela Davis biopic" (Women and Hollywood)

The remaining months of the year won't have the same volume of buzzy festival pictures, star-studded Oscar bait or holiday blockbusters, but that doesn't mean there isn't lots to look forward to—if you know where to look. This week, Adam and Josh have their Top 5 Questions About the Fall(ish) Movie Season. Plus, the final film in the Overlooked Auteurs Marathon, Julie Dash's DAUGHTERS OF THE DUST, along with the Marathon-ending awards. 0:00 - Billboard 1:13 - Fall Movie Preview Andrew Bird, "Alabaster" 45:03 - Next Week/Notes 50:55 - R.I.P. Sean Connery 1:03:50 - Massacre Theatre 1:10:57 - Overlooked Auteurs #6: "Daughters of the Dust" 1:31:00 - Overlooked Auteurs Awards ("The Burnt Potatoes") 1:51:17 - Outro / Outtake Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, the second part of our exploration of African Americans in film, Team Vintage Sand shifts its focus to the people behind the camera. Remember that it was not until Gordon Parks directed his autobiographical "The Learning Tree" in 1969 that Hollywood released a major film by a black director. What followed in its wake was the mixed blessing of “Blaxploitation” in the early 1970’s, which in turn inspired the first major wave of black directors, led by Spike Lee and John Singleton in the late 80’s and early 90’s. Now, at the turn of a new decade, we are witnessing a golden era for Black filmmakers, led by the commercial and artistic successes of artists like Ryan Coogler, Ava Duvernay, Barry Jenkins, Jordan Peele and many others. And we are also beginning to see, especially through the efforts of Tyler Perry, the first major studios created and owned by African-American artists and financiers. Our goal in this episode is twofold. On one hand, we talk about some of the lesser-known and forgotten work by some of these major directors. At the same time, we try to call attention to more obscure films, such as Charles Burnett’s "Killer of Sheep" (1977), Ivan Dixon’s one-of-a-kind "The Spook Who Sat by the Door"(1973) and Julie Dash’s incomparable "Daughters of the Dust" (1992, obscure no longer, thanks to Beyonce’s "Lemonade" film). Our hope is simply to open and perhaps reopen some doors for our audience. As with our previous episode, we are hoping that our listeners will share our experience in having the opportunity to re-examine their own assumptions and to look for different lenses through which to view this rich and complex history.

We end the first season with two spectacularly talented creatives: Julie Dash and Issa Rae.Guest Co-Host: Shauna PinkettFollow Shauna on Instagram @spinkett @afrochroniclesOn Twitter @myafrochronicleAnd on the web at spinkett.comEpisode 15 Suggested...

Pour ce quatrième épisode, mon invité est Nicolas Medy. Nicolas est réalisateur. Durant cet entretien, nous avons parlé de son rapport à l'art et des différents médiums par lesquels il est passé, allant de son éducation musicale classique à la photographie et au dessin, avant d'arriver au film plus tardivement. Il m'a raconté sa difficulté à assumer son envie de s'exprimer à travers la fiction au cinéma, avant de découvrir des réalisateurs et réalisatrices comme Julie Dash et Marlon Riggs ; qui en mettant en scène des personnages queer et racisés l'ont aidé à se sentir légitime dans sa propre créativité. Nous avons également parlé de son choix de faire des films avec un très petit budget et des limites que cela comporte, de son ambivalence à s'inscrire dans un système de production traditionnel, et de son évolution politique à travers les quatre court-métrages qu'il a à son actif. J'espère que cette épisode vous plaira. Bonne écoute! Vous pouvez suivre Nicolas sur instagram sous le pseudo @medy_nicolas Son court-métrage Soleils Bruns sera visible cette semaine, du 13 au 18 octobre, à la galerie Sept Elzévir à Paris dans le cadre de l'exposition Masculinité(s) du Festival du Film de Fesses. En ce moment, Nicolas a plusieurs projets : il tourne son prochain court-métrage Nuit de Chine, il prépare le tournage de Venus Retrograde, un court-métrage pour le Festival du Film de Fesses coécrit et coréalisé avec Valentin Noujaim, et il tournera ce mois-ci un clip pour le groupe Mansfield TYA. Il travaille également avec l'artiste Fred Morin sur la mise en scène d'une performance, Playback, autour de Didon et Enée de Purcell. musique du générique : Podiab Club Si vous voulez suivre Couleurs Primaires, les épisodes sont disponibles sur Soundcloud, Apple podcast, Deezer, Podcast Addict et Spotify. N'hésitez pas à partager cet épisode s'il vous a plu et à mettre une pluie d'étoiles sur Apple podcasts ! Vous pouvez également nous suivre sur instagram (couleursprimaires_lepodcast) et facebook (couleursprimaireslepodcast)

There are very few black female filmmakers that have been acknowledged by mainstream media and Hollywood. By no means does it mean that the work of such artists is not good enough. Kasi Lemmons, Ava DuVernay, Julie Dash and Euzhan Palsy are but a few that have had the opportunity to breakthrough. Their work is exquisite, only surpassed by their work ethic.It is from this lineage and tutelage that Lori Webster emerges. Lori grew up in a small town in North Carolina. She was fascinated with stories and more importantly storytelling as far back as her childhood years. That fascination led her to shoot, direct and edit her first film by her teens. She admits that the film was her 16-year old interpretation of John Singleton’s Boys in the Hood set in her beloved North Carolina.Lori’s experimental film solidified her love for the artform and ushered her thoughts in one direction. When others were wondering what their major would be in college, Lori knew that she was destined for the world of media. She was convinced that being a storyteller was her calling. A series of life events including pageants, (she’ll tell you about that later) and travel to several countries, plus 18-hour days at several networks has produced in my estimation one of the next great African American filmmakers.Lori’s eye is among the best, her imagination limitless, her ability to compose and deliver stories… exceptional. From her work in documentary to narrative tales, Lori Webster is a name that you should remember. Though I have attempted to provide a brief synopsis of Lori the filmmaker, she is somewhat of a renaissance woman. In her own words,This is the story… thus far… Of Lori Webster.

Today's episode features Eleni Palis, an assistant professor of English and Cinema Studies at the University of Tennessee, who researches the intersections between classical and post-classical American cinema. We discuss her article, "Race, Authorship and Film Quotation in Post-Classical Cinema” published in Screen. Palis transforms our idea of the film quotation from a practice of canonization used by the directors of New Hollywood by looking at innovative practices by three African American filmmakers: Julie Dash, Cheryl Dunye, and Spike Lee. In her reading of their films, and particularly the use of manufactured and "fake"quotations, Palis demonstrates an alternative use to the practice that interrogates our own relationship to film histories, both real and imagined. Trough a generation of filmmakers who cannot necessarily look to the past for the same kind of inspiration, her article allows us to rethink our own relationship to Hollywood's own history.

Writer and director Channing Godfrey Peoples joins Anna for an eye-opening discussion about her new film, Miss Juneteenth. In UK cinemas from 25th September 2020, this movie is a warm and intimate portrait of former pageant winner Turquoise Jones (Nicole Beharie), as she prepares her daughter, Kai (Alexis Chikaeze), for the annual Miss Juneteenth pageant and navigates her life within the close-knit Black community of Fort Worth, Texas. Channing reveals the personal inspiration behind her story, explains the role that the arts can play in the Black Lives Matter movement, and hints at what she is working on next. Next, Anna welcomes fellow critic Corrina Antrobus back to the show to review the film. They talk about Nicole’s remarkable performance, the nuanced relationships presented onscreen, and the significance of a 'dream deferred'. This jam-packed show also includes fantastic film recommendations. Channing provides a detailed watchlist: Killer Of Sheep and My Brother’s Wedding by Charles Burnett, Daughters of the Dust (dir. Julie Dash), Eve’s Bayou (dir. Kasi Lemmons), Beyond The Lights (dir. Gina Prince-Bythewood), and Rachel Getting Married (dir. Jonathan Demme). And Corrina suggests Rocks (dir. Sarah Gavron), Babyteeth (dir. Shannon Murphy), Make Up (dir. Claire Oakley), and In My Room (dir. Mati Diop). This episode is in partnership with Vertigo Releasing. www.vertigoreleasing.com/portfolio/miss-juneteenth/ Become a patron of Girls on Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI’s YouTube channel: https://www.youtube.com/playlist?list=PLXvkgGofjDzj5mCFL89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Executive producer: Hedda Archbold. Producer: Jane Long. Principal Partner: Peter Brewer. Assistant Producer and Social Media Manager: Heather Dempsey. Intern: Elliana Jay.

9/13/2020 On this week's episode we discuss Julie Dash's 1991 movie Daughters of the Dust and Andrei Tarkovsky's 1979 movie Stalker. Intro Music: "Hale Makame," 1930, Unknown author / Public domain Outro Music: "Fool Me Some More," 1930, Gus Arnheim / Public domain --- Support this podcast: https://anchor.fm/whatsyourdungeon/support

We review Julie Dash's masterpiece DAUGHTERS OF THE DUST (available for streaming for free at CriterionChannel.com) Be sure to subscribe and rate us on your favorite pod catcher and feel free to support us over at Patreon.com/OnTheTropes! Buy some stuff at http://onthetropes.redbubble.com Find more about the trope at TVtropes.org, and let us know your favorites over at OnTheTropes@gmail.com, Facebook.com/OnTheTropes, or Twitter @OnTheTropes.

This week we take a look at the first widely distributed film directed by a Black woman. As part of their efforts to highlight Black filmmakers, the Criterion Channel has released Julie Dash’s Daughters of the Dust—among other films—for free to non-subscribers. So there’s no reason not to go watch this impressive tale of family, values, and the non-linearity of experience.

Matty Libatique is truly one of the greatest cinematographers I have had the chance to work with throughout my career. Matty comes from a Filipino background but was born in New York City in Elmhurst in the borough of Queens. His father, Justiniano Libatique, was an amateur photographer and worked in a film laboratory in New York. As a kid growing up in New York, his dad gifted Matty a Nikon and taught him photography fundamentals at an age when he did not realize he would be using this knowledge for his entire career. During his University years he studied sociology and communications at Cal State Fullerton and then went to AFI for an MA in Cinematography. In this podcast we talked about his journey to become the great cinematographer he is today including his career long collaboration with Darren Aronofsky going back to when they were students at AFI and working with great DP’s like Ed Lachman, a very important mentor for Matty. We also talked about some of his other collaborations with directors like Joel Schumacher, Spike Lee, Jon Favreau, Ernest Dickerson, Bradley Cooper, Rashid Johnson, Mathieu Kassovitz and many others…. As a cinematographer, he is one of the great pioneers of manipulating the photochemical process for extreme dramatic effect by using lab processing techniques like Cross Process & Skip Bleach. He is one of a small group of bold DP’s that were the original trailblazers that experimented frequently with using the cross process and skip bleach process in the work including Malik Sayeed, Harris Savides, Bob Richardson, Darius Khonji and Ellen Kuras to name a few. He has Academy Award nominations for Black Swan and A Star is Born and has many festival wins for films including Spirit Awards for Requiem For a Dream and Black Swan. His parents, Justiniano Libatique and Georgina Porter are immigrants from the Philippines. Matty’s Filipino heritage is very important to him. He speaks and understands Tagalog and comes from French heritage on his paternal side. Throughout his career he has shot many important music videos including the 1998 Jay-Z video Ja Rule & Amil: Can I Get A….. directed by Steve Carr and also the Tracey Chapman video with Julie Dash directing called Give Me One Reason. CONVERSATIONS WITH CHARLIE YOUTUBE: https://tinyurl.com/vrtzr64 SPOTIFY: https://tinyurl.com/wvjfav4 APPLE PODCASTS: https://tinyurl.com/w7n8br2 WEBSITE: www.conversationswithcharlie.com

This week on the InSession Film Podcast, we review the Julie Dash film Daughters of the Dust and we continue our Charlie Chaplin Movie Series with his 1928 film The Circus! Plus, a few thoughts on 7500 and The Watermelon Woman. - Review: Daughters of the Dust (6:26) - Notes / Discussion (41:59) - Charlie Chaplin Movie Series (1:06:24) Thanks for listening and be sure to subscribe on iTunes, Google Play, Stitcher, Soundcloud or TuneIn Radio! iTunes: https://itunes.apple.com/us/podcast/insession-film-podcast/id605634337 Spotify: https://open.spotify.com/show/5LIi40D5BTFnsRMP57O5nG IHeartRadio: https://www.iheart.com/podcast/269-insession-film-podcast-30916083/ Google Play: https://play.google.com/music/listen?authuser&u=0#/ps/It5foal422yoktioaclalk3ykyi Stitcher: http://www.stitcher.com/podcast/insession-film Soundcloud: https://soundcloud.com/insession-film TuneIn Radio: http://tunein.com/radio/The-InSession-Film-Podcast-p522717/ Listen Now: http://insessionfilm.com/insession-film-podcasts-listen-now/

Summary:   This week we watch the poetic masterpiece Daughters of the Dust, a 1991 film written, directed and produced by Julie Dash, which tells the story of three generations of Gullah women living in a village on Saint Helena Island in South Carolina. Daughters of the Dust was named one of the most significant films of the last 30 years by Indiewire, it was the inspiration for Beyonce’s Lemonade, the first feature film directed by an African-American woman distributed in the U.S. It is a classic film by a brilliant talent that has long gone underappreciated.    Show notes:   Daughters of the Dust on Criterion    Lemonade syllabus reading list (Left Bank Books)   Uprising & Abolition: Angela Davis on Movement Building, “Defund the Police” & Where We Go from Here (Democracy Now)   Julie Dash Made a Movie. Then Hollywood Shut Her Out. (NYTimes)   Solange, "Cranes in the Sky" (YouTube)     Recommendations: Lisa: Queer Eye, Season 5 (Netflix) Andrea W.: Witch Prophet, DNA Activation (music) Andrea G.: DOXA Documentary Film Festival from June 18 - 26 (online film festival) Music credits: "Good Times" by Podington Bear From Free Music Archive CC BY 3.0   Theme song "Pyro Flow" by Kevin Macleod From Incompetch CC BY 3.0 Intro bed:"OLPC" by Marco Raaphorst Courtesy of Free Music Archive CC BY-SA 3.0 NL Pop This! Links: Pop This! on TumblrPop This! on iTunes (please consider reviewing and rating us!) Pop This! on Stitcher (please consider reviewing and rating us!) Pop This! on Google PlayPop This! on TuneIn radioPop This! on TwitterPop This! on Instagram Logo design by Samantha Smith Pop This! is two women talking about pop culture. Lisa Christiansen is a broadcaster, journalist and longtime metal head. Andrea Warner is a music critic, author and former horoscopes columnist. Press play and come hang out with your two new best friends. Pop This! podcast is produced by Andrea Gin and recorded at the Vancouver Public Library's wonderful Inspiration Lab.  

Meals, Music, and Muses: Recipes from my African American KitchenBy Alexander Smallswith Veronica Chambers Intro: Welcome to the number one cookbook podcast, Cookery by the Book with Suzy Chase. She's just a home cook in New York City, sitting at her dining room table, talking to cookbook authors.Alexander Smalls: Greetings. My name is Alexander Smalls and I have just penned a new book called Meals, Music, and Muses: Recipes from My African American Kitchen. I'm very excited to talk about it.Suzy Chase: I am at a point in this quarantine where I don't even know what day we're on, but what I do know is breakfast continues to be the most important meal of the day. I saw on your Instagram a couple days ago, you made a gorgeous breakfast of eggs, sage sausage, and steel cut oats. Melissa Clark from The New York Times got me so intrigued by savory steel cut oats. Tell me about this breakfast.Alexander Smalls: Well, I'm not one of these people who likes to have my oats sweet. I discovered that oatmeal has really a brilliant flavor when you treat it like you would, say, grits or couscous or grains. I like cooking my oatmeal with stock, vegetable stock, chicken stock, and I like to mix the thick cut oats and the steel, because it creates more texture. When I make my breakfast, I usually cook one half part of steel, one half of thick flake in chicken stock, which takes a while. I like to put a little coconut oil to give it that flavor and I love to serve it with savory protein, like sage sausage and, of course, a nice egg or two to top it off. I also put red pepper flakes and black pepper. So, there's a twist for you.Suzy Chase: Where do you get sage sausage?Alexander Smalls: It's an organic sausage that I buy at Whole Foods. Now, I have made my own, and when I do have the time, essentially taking some ground chicken and putting in my seasonings, everything from Herbes de Provence to lots of fresh sage. That works as well. It just depends on your time.Suzy Chase: Well, we all have time right now, you know?Alexander Smalls: It depends on what's in your refrigerator.Suzy Chase: Yes. This cookbook marries your love of food and music. How is music getting you through the isolation?Alexander Smalls: I rise every morning around 5:00 AM. On my way to the kitchen to make my first cup of Earl Grey tea, I pass by the Sonos and get it going on my Bach radio station or my Spotify and classical music just immediately starts to pipe in. There is something so healing for me. There's nothing like passing through and there's a wonderful Chopin etude going crazy or a wonderful cello piece that sort of invades the air. And now and then a vocalist will come on to singing a song that maybe I sang when I first started studying music, one of the art songs. And I stop and I sing through that and then I just keep going. But this, it's such an incredible companion, music. And so towards the middle of the day, I may switch over to some light jazz by sort of late afternoon. I'm really listening to some bebop and things like that. And then at night, I move into Afropop and it just makes me smile. It makes me feel good.Suzy Chase: Have you checked out D-Nice on Instagram, the DJ?Alexander Smalls: Yes.Suzy Chase: Oh, my gosh.Alexander Smalls: Just unbelievable. Talk about the perfect panacea for these times and then you see your friends names flashing up in the background and you start to go, "Oh, I see you, all right, blah, blah, blah."Suzy Chase: And there's Chaka Khan. Oh, I love him.Alexander Smalls: I love him.Suzy Chase: Yes.Alexander Smalls: It's a wonderful time to really contemplate and feel the love that just comes from strangers and people who want to engage you wherever they find you in their own way. It's a beautiful thing.Suzy Chase: So could you read the most recent passage you wrote on Instagram, which is asmalls777 for anyone who wants to go check it out.Alexander Smalls: Why, yes, yes. It is what it is. We are who we are. Human beings, ill-equipped to manage life without the heartbeat, laughter and joy, the absence of another's embrace, grace and understanding. But be strong, courageous and steadfast. Joy will ultimately find us resilient in the coming mornings, believe.Suzy Chase: Amen. Well, stay strong. Keep posting your dishes on Instagram and take good care.Alexander Smalls: Thanks, Suzy.Part 2:Suzy Chase: You are a self-described social minister, James Beard Award winning chef, restaurateur, author, singer, and tastemaker. What I found so intriguing is you spent decades in Europe as a classically trained opera singer. You have a Grammy and a Tony. Now, how did you pivot over to becoming a chef and restaurateur?Alexander Smalls: You know, that's a really good question and what I would say about that question is I've always been all these things. It was just really about when they were going to take my life over at what particular time. And what I mean by that, is that I grew up essentially with my, and I called them almost my imaginary friends, but my two best friends was food and music. They really described best who I was and how I saw the world. I think that for me, they were the two languages, creative, artistic expressions that suited my personality and kind of mapped my journey in life. The music was essentially the driving force that launched my career and took me to reasonable heights and I received a tremendous amount of satisfaction.Alexander Smalls: But I hit a glass ceiling as a black male opera singer trying to break through to the elite level of classical music. Black women, for the most part, were exotic, and there were quite a few of them, but black men had a very difficult time and often we had to go to Europe, and usually to Germany, to really sing at these sort of vocal factories where they would just abuse your voice. You would sing three, four times a day and probably come back home with a wobble and a vibrato completely out of whack and basically a tired voice.Alexander Smalls: And I had my third audition at the Metropolitan Opera. After my audition, singing two operas, the voice from the audience there, one of the directors said, "Oh, great job. We see the maturity in your voice." I had auditioned for them before and I'd been living in Europe and studying at a Paris opera house. And they said, "Well, we'd love for you to come and work with us and we're doing Porgy and Bess and we'd love you to do chorus and some small roles."Alexander Smalls: Now, what you have to understand is that I already had a Grammy and Tony for the recording of Porgy and Bess. So it was a frightful slap and disappointment. And I went home and decided I was no longer going to pursue opera as a career. And I turned to my second best friend and love, which was food and hospitality. And I decided that I needed to take my living room public and open my own restaurant.Suzy Chase: So, in the book, you dedicate it to your parents, their parents, and your ancestors. I'd love to hear a little bit about your family.Alexander Smalls: Well, I had a wonderful family, loving, supportive, generous. I was very fortunate when I was born, my aunt and uncle, who were living in Harlem, my aunt, a classical pianist, and my uncle, a chef, and had worked in many New York restaurants and had traveled around the world as a Navy man and a Merchant Marine. And he had taught himself Spanish and French.Alexander Smalls: So what they did to enrich my life is probably why life really turned out the way it did. My aunt was my piano teacher. My uncle essentially taught me the art of dreaming and creativity through food. And the two of them, I spent probably more time there, in some cases, than my parents or my sisters, for that matter. But they had me as a young boy reciting Shakespeare, reciting John Donne, Langston Hughes. I was listening to opera, Renata Tebaldi, Birgit Nilsson at such an early age, Leontyne Price, Marian Anderson.Alexander Smalls: This was really the language for me at an early age of seven that carried through and it was very early that I decided that I wanted to be an opera star. And my parents, who were horrified, they knew nobody that looked like me or them, they were frightened beyond measure. I mean they wanted me to become a professional, a doctor, a lawyer, something that was in the realm of understanding. But this idea of a classical musician, an opera singer, and they had nothing to compare that with, but they didn't say no. So this is how I evolved and basically won lots of classical music competitions, got scholarships to go to some of the best schools in the country. And that's how I started my career and my family was right there supporting all of it.Suzy Chase: So, when you think of your Uncle Joe, who was a chef and could also play piano by ear, but he couldn't read a note, do you think about him in your daily life? I feel like you've fulfilled a lot of his dreams.Alexander Smalls: Oh my, yes. You are absolutely right. I mean, I think about them all the time. They are so much a part of my life and they are part of my inspiration. I sit with the ancestors. I'm comfortable with the gifts, the knowledge, the sacrifices that they all made so that I have the platform that I have today and the knowledge and the passion and the belief that I can do anything if I put my mind to it.Suzy Chase: So, speaking of ancestors, Julie Dash's incredible documentary called Daughters of the Dust-Alexander Smalls: Oh, yes.Suzy Chase: ... shows us the Gullah culture of the sea islands off the coast of South Carolina and Georgia. Tell us a little bit about that almost forgotten culture.Alexander Smalls: What you'll have to understand is that while my father was born in Charleston, at Johns Island, and my grandfather, my grandmother from Buford, South Carolina, and this is all on my father's side. My mother's family was from what we call Upcountry and that would be Spartanburg, that area north of Columbia, north, northwest. I grew up eating very different things than my friends were eating. Their food was more like the foothills of Appalachia, the Piedmont. While our food was very Afrocentric, the influences of the Gullah Geechee people, the outer islands there, was the foundation of farm and culinary that influenced my life.Alexander Smalls: So, my father would, literally while I was still sleeping, put me in the back seat of the car along with my sisters and the caravan would leave Spartanburg for that journey to Charleston and Buford, South Carolina, Green Pond. It was like going, we used to say, to the old country. It was so different. A lot of farm land, but the life in Charleston was very interesting for me. It was very ritualistic. People told stories and they spoke with thick Gullah Charleston Geechee accents, made it very difficult for us as a child to really understand what they was saying.Alexander Smalls: But the food was just something unimaginable. You know, lots of seafood, we were on the coast, lots of stews. One of my favorite dishes is shrimp and okra stew, which in West Africa, it's shrimp and okra soup, stews are soups in Africa versus here they are stews. And this is how I grew up and this is how I understood life and the connection of the old country, which was the Lowcountry to Spartanburg where I lived with my family, my normal life. It was fascinating for me.Suzy Chase: By the end of the 19th century, South Carolina was the largest rice producer in America. The Gullah Geechee people were experts in growing rice, knowing the tides, how they flooded the fields, et cetera. One of the main dishes of the Gullah cuisine is red rice. Tell us about your Charleston Spicy Red Rice.Alexander Smalls: Well, the red rice is really a takeoff of Jollof Rice, which is the famous Jollof Rice that the Nigerians and the Ghanaians fight over all the time, who has the best. Well, interestingly enough, there's really no contest because it was kind of created by the Senegalese.Suzy Chase: Yeah.Alexander Smalls: We're not even in the conversation. But yes, the red rice is something that we grew up on, less spicy, I think, in America than it was in Africa and a main staple. You know, rice built South Carolina. When the slave traders were collecting enslaved people from West Africa, they understood exactly the type of workers that they need and they purposely looked for these rice growers, these people that had the expertise.Suzy Chase: Okay. So I want to love okra, but I just, I don't get it. What do you recommend for us folks that think we don't like okra?Alexander Smalls: Why don't you like okra? Do you know?Suzy Chase: Yeah. It's just slippery.Alexander Smalls: Fibrous?Suzy Chase: Yeah.Alexander Smalls: Slippery? Okay. So, what I recommend always for my friends who say they don't like okra is my okra fries and I fry them in rice flour, crisp, delicate, scrumptious. Now, if you don't like fried okra, something's wrong with you or you're not having it fried right. So I've given you a recipe in Meals, Music & Muses. Hopefully that will help you get over the hump. But fried okra probably is the best approach. The second best approach is charred okra, because that gets out all of the slicky part and it's charred crisp with a broiler on a grill. And again, it's a wonderful accompaniment. I, as a kid would eat okra sandwiches, okay?Suzy Chase: So, what was on it?Alexander Smalls: Well, a fresh sliced tomato, fried okra and something we call in the South, Duke's Mayonnaise, like your Hellman's Mayonnaise here, only better. And sometimes a slice of cheddar cheese. So I want you to try that recipe and tell me about it.Suzy Chase: Okay. So, last night for dinner, I made your recipe for Citrus Whipped Sweet Potatoes on page 86 and your Southern Fried Chicken on page 132. Can you describe-Alexander Smalls: And you did a great job.Suzy Chase: Thank you.Alexander Small...: I saw it on IG and I was so proud of you.Suzy Chase: Oh, thank you. Can you describe these recipes and talk a little bit about shoebox lunches?Alexander Smalls: Well, let me start with shoebox lunches. I had a restaurant in Grand Central Station for 15 minutes. Unfortunately, 9/11 happened and everything went to, I had just opened it. But the name of the restaurant was called The Shoebox. And The Shoebox was in celebration of the shoebox lunch, which was the way in which people of color during segregation made sure that wherever they traveled, they had something to eat.Alexander Smalls: It was very difficult finding black owned restaurants that they could go to. And this was also during the time when a very clever man from the South decided that black travelers needed something called a green book. And that book sort of identified black owned businesses or businesses that were accepting of black business when they traveled. So the shoebox lunch essentially was a discarded shoebox that was filled with food that traveled well, wrapped in waxed paper most of the time, and then tied with twine.Alexander Smalls: That is, this great story, my uncle often would go back and forth from South Carolina to New York, Harlem, on the train. Aunt Laura looked like a white woman. She was very pale and Uncle Joe was very dark, but he spoke French and Spanish and passed himself off as a diplomat. And so they would get to ride in the white car. Once Uncle Joe forgot the shoebox lunch that my grandmother had prepared him. Because I think what he normally did was take the shoebox and then kind of discarded it or put the food in a pocket book or something, a bag. It was too tale-telling for him to walk on there with a shoebox lunch. So my grandmother, realizing that he had forgotten this, runs to the train going, "Son, son, you've forgot your-"Suzy Chase: Oh, no.Alexander Smalls: And the conductor, horrified, threw my uncle out of, he was traveling without his wife, out of the white car and made him go back to [crosstalk 00:19:12].Suzy Chase: Oh, man.Alexander Smalls: My mother used to love to tell that story and so when I opened my restaurant at Grand Central Station, I thought how fitting to do something like that. And often times you would find that fried chicken that you enjoyed the other night, right in that shoebox. It was a perfect thing to travel because it's fried, the oil is like preservatives and you'd find say some corn bread, you'd find some cake, like a pound cake was a great traveler and, of course, there was always cheese sandwiches. And there would be carrots and celery, sort of crudités things. And if you were going to eat them quickly, you might find a few deviled eggs in there and that was kind of like the appetizer to have once you got on the train because they don't keep.Suzy Chase: Now for my segment called My Favorite Cookbook. What is your all time favorite cookbook and why?Alexander Smalls: Well, my all time favorite cookbook is Charleston Receipts. It is a cookbook that is a collection of Charleston Lowcountry recipes that was a constant companion in my home growing up. It really speaks to the food of the Lowcountry and the contributions of African American enslaved people who essentially were the hospitality and culinary practitioners. Because they were not allowed to read and write, recipes were are often collected by the various families and the family name went on them. But you knew in the details who was really making that food.Suzy Chase: Yeah.Alexander Smalls: But you know it really mirrors the roots of where I come from and so it has always been a constant companion in my home and I take great inspiration from it.Suzy Chase: Where can we find you on the web and social media?Alexander Smalls: Well, I'm very active on Instagram. I have also page on Facebook that I don't attend to as well as I do Instagram. And then there is alexandersmalls.com which is my website.Suzy Chase: I am so thankful that you wrote this cookbook. Thanks so much for coming on Cookery by the Book podcast.Alexander Smalls: Thanks for having me. I've enjoyed my chat with you and I appreciate all of the support and generosity that you've given me. Thanks a lot.Outro: Subscribe over on CookerybytheBook.com and thanks for listening to the number one cookbook podcast Cookery by the Book.

EPISODE 38 – BLACK HISTORY MONTH – In honor of Black History Month this year, Vanessa & Daeron cover Julie Dash’s “Daughters of the Dust” & Zora Neale Hurston’s “Every Tongue Got to Confess: Negro Folk-tales from the Gulf States. Next month: It’s another year of March Madness… Spike Lee’s “Summer of Sam” & John E. Douglas & Mark Olshaker’s “Mindhunter.” Check us out: on Facebook at facebook.com/groups/VDClinicPod, on Twitter & Instagram as @VDClinicPod, or via email at vdclinicpod@gmail.com.  Our Flick Chat group code: VDClinicPod.

Alissa Bertrand on social media.Jabellafleur on InstagramInterview on Junior StyleAlissa's Next phase: She is attending Art Institute of Atlanta!Things Mentioned in the episodeSewn MagazineDaughters of the Dust, Julie Dash's 1991 filmLemonade, Beyonce visual albumLOL DollsAlissa's phone: iPhone XRSupport the Stitch Please podcast and Black Women Stitch$15 to the Paypal account for a Black Women Stitch lapel pin! DM or email your mailing to address for free shipping.Support also appreciated here:PatreonPaypalCash App

With the Oscars just days away, Toronto filmmaker Sami Khan — whose St. Louis Superman is up for Best Documentary Short — takes a break from the awards circuit to talk about the landmark American drama Daughters of the Dust, and how writer-director Julie Dash’s evocative study of people dealing with a shared trauma influenced … Continue reading Sami Khan on Daughters of the Dust →

Filmen "Daughters of the dust" utspelas 1902 på en ö utanför Georgias kust och handlar om familjen Peazant. Vi träffar både levande och döda släktingar en söndag på stranden i denna afroamerikanska klassiker. Julie Dashs "Daughters of the dust" är den första film gjord av en afroamerikansk kvinna, som fått biodistribution över hela USA. Det är fortfarande hennes enda långfilm men detta visionära, bildsköna drama har klassikerstatus i filmhistorien och ingår i det amerikanska filmarvet. 2004 kvalade filmen in i den nationella filmskatt som utgörs av "National film registry". "Daughters of the dust" som av Helena Lindblad i Dagens Nyheter beskrevs som "en subtropisk kostymfilm", tog närmare 15 år att göra. Filmen är ett mytologiskt drömspel som handlar om hur slaveriet satt spår i människornas själar, men utan att visa en enda piska eller ett enda bomullsfält i bild. De enda visuella tecken från slaveriets tid vi ser i filmen, är familjens indigofläckade händer. De närmast tatuerade blålila spåren efter att ha slitit på indigoplantagen. Det är kvinnorna som står i centrum och den som för ordet är ett ofött barn som befinner sig i historiens mellanrum av mormödrar, mödrar och deras barn. Alla är klädda i edwardianska vita klänningar och de vandrar, och dansar och för samtal längs de vita palmkantade ständerna - om familjehistorien och de olika öden som drabbat familjemedlemmarna under slaveriet och efter befrielsen. Nu vill den yngre generationen lämna ön och gå vidare. När Beyoncés visuella album Lemonade kom 2016 i anslutning till hennes album med samma namn, var det många som såg influencerna från Julie Dash film. Något som gav filmen något av en pånyttfödelse. Samma år digitaliserades och restaurerades den också till ursprunglig filmkvalitet och med korrekt färgåtergivning och tillgängliggjordes på Netflix. Nina Asarnoj nina.asarnoj@sr.se

Robert Monroe emailed us at pods@rnz.co.nz to tell us about his favorite podcast, "The Micheaux Mission". The show's name comes from the pioneering African-American filmmaker Oscar Micheaux and in it hosts Len Webb and Vince Williams are on a mission to watch and review every single Black film ever made. We play some of 'The Micheaux Mission' episode about 'Daughters Of The Dust', an independent film from 1991 that's written, directed and produced by Julie Dash, and set on an island off the coast of South Carolina in 1902

We take a journey through time along a single fixed place as history washes over us in Julie Dash’s indie classic, Daughters of the Dust. Come for incredible cinematography and fantastic performances, stay for Em and Jackson doing their best not to say something incriminatingly white. Most of all, settle in for a reminder that the families we have and create are our survival with this truly great film.Send us any email questions and comments about the movies we cover or movies in general to podcast@abnormalmapping.com! Also, we're a patreon supported show, please go to patreon.com/abnormalmapping to see our many shows and support us.Next Time on Repertory Screenings:Throne of Blood

Today we discuss two wonderful black feminist movies! The first one we talk about is Daughters of the Dust directed by Julie Dash. Daughters of the Dust is set in 1902 and follows a family as they prepare to leave the Sea Islands, on the coast of Georgia, to move to the mainland. The second movie is Lemonade by Beyoncé. Marketed as a "visual album", Lemonade is a series of music videos, like mini-movies, that tell a story of betrayal, pain, self-love, and redemption. Questions to Consider: How can multi-media lessons add depth to our curriculum? When we teach black history, are we including more than just moments of pain and suffering? How can presenting a culture as monolithic be damaging to our students? Support the show (https://theorymeetspracticepod.blogspot.com/)

Colorism, root work, and history you should already know, oh my! Join Jen and Teri with special guest, Eden Royce, as they discuss the 1991 Julie Dash independent film, Daughters of the Dust. This is an incredibly intense and languid film about a Gullah family from Saint Helena Island and their preparations to migrate to […]

What if you followed your dream, no matter how unlikely it was and how many people told you it was crazy? Joshua Bingaman did it twice, creating two uniquely Austin businesses, Progress Coffee and Helm Boots. On this episode, Joshua discusses what inspired him to start each of them and why the creative synergy of around 2008-2010 in Austin led to so many successful offshoots from some of Austin’s best artisans. PLUS: Austin360 restaurant critic Matthew Odam talks about the blowback from his article about the state of BBQ in Lockhart, Texas; he says the meat mecca has missed a step as Central Texas brisket has evolved. AND: In this week’s Webb Report,  Eric Webb gives us the lowdown on the upcoming FieriCon, a pub crawl happening in Austin this October for fans of “Diners, Drive-Ins and Dives” host Guy Fieri. And in a “A Toast," we recommend a documentary you can find on Netflix, “The Last Laugh,” Michael Chabon’s recent book of essays about fatherhood, “Pops.” And Addie suggests “Daughters of the Dust,” Julie Dash’s 1991 film about the Gullah community of coastal South Carolina, which visually inspired Beyoncé’s “Lemonade.” More info: http://austin360.com/loveaustin360

Filmen "Daughters of the dust" utspelas 1902 på en ö utanför Georgias kust och handlar om familjen Peazant. Vi träffar både levande och döda släktingar en söndag på stranden i denna afroamerikanska klassiker. Julie Dashs "Daughters of the dust" är den första film gjord av en afroamerikansk kvinna, som fått biodistribution över hela USA. Det är fortfarande hennes enda långfilm men detta visionära, bildsköna drama har klassikerstatus i filmhistorien och ingår i det amerikanska filmarvet. 2004 kvalade filmen in i den nationella filmskatt som utgörs av "National film registry". "Daughters of the dust" som av Helena Lindblad i Dagens Nyheter beskrevs som "en subtropisk kostymfilm", tog närmare 15 år att göra. Filmen är ett mytologiskt drömspel som handlar om hur slaveriet satt spår i människornas själar, men utan att visa en enda piska eller ett enda bomullsfält i bild. De enda visuella tecken från slaveriets tid vi ser i filmen, är familjens indigofläckade händer. De närmast tatuerade blålila spåren efter att ha slitit på indigoplantagen. Det är kvinnorna som står i centrum och den som för ordet är ett ofött barn som befinner sig i historiens mellanrum av mormödrar, mödrar och deras barn. Alla är klädda i edwardianska vita klänningar och de vandrar, och dansar och för samtal längs de vita palmkantade ständerna - om familjehistorien och de olika öden som drabbat familjemedlemmarna under slaveriet och efter befrielsen. Nu vill den yngre generationen lämna ön och gå vidare. När Beyoncés visuella album Lemonade kom 2016 i anslutning till hennes album med samma namn, var det många som såg influencerna från Julie Dash film. Något som gav filmen något av en pånyttfödelse. Samma år digitaliserades och restaurerades den också till ursprunglig filmkvalitet och med korrekt färgåtergivning och tillgängliggjordes på Netflix. Nina Asarnoj nina.asarnoj@sr.se

This week iconic filmmaker Julie Dash joins Sam from Ebertfest! The pioneering director entered the public consciousness in 1991, when her debut film - "Daughters of the Dust" - became the first feature by an African-American woman to receive a nation-wide theatrical release. Over the course of a winding conversation, Julie and Sam get into her upbringing in New York City, the difficulties of receiving financing in Hollywood, and why, these days, she simply creates for herself. http://talkeasypod.com/

We're switching the format for Black History month! We are honoring historical African American people, films, shows, or movements of our past and putting them in conversation with people who are doing similar work today. We believe it is important to acknowledge the predecessors who planted the first seeds of hope for our people and it is also important to acknowledge those who are still plowing away in the garden and brining forth that harvest for all of us to enjoy and be inspired by! This week we honored the following: Because of Julie Dash, we have Ava DuVernay. Because of Tupac Shakur, we have Kendrick Lamar Because of Barbara Christian, we have Ula Taylor We could take the time to TELL you who these people are but instead we would encourage you LISTEN to the episode instead. The stories and highlights of these phenomenal black figures in our society are definitely worth sharing. We also played a couple of rounds of the hilarious game Black Card Revoked, highlighted some great books, and overall had a good time. Tune in for some history, fun, and a great show! =D

On the first segment of today’s show, host Tom Breen is joined by Connecticut poet Kate Rushin to talk about two movies that have had a profound influence on her understanding and love of cinema: DAUGHTERS OF THE DUST, a landmark 1991 drama from director Julie Dash about three generations of African American Gullah women from the Sea Islands of South Carolina, a movie often celebrated as the first feature film directed by an African American woman to get a wide theatrical release in the United States; and we’ll also talk about BLACK ORPHEUS, a 1959 musical from French director Marcel Camus that adapts the classical Greek myth of Orpheus and Eurydice to the vibrant, samba-suffused streets of Brazil’s Rio de Janeiro during Carnival.On the second segment of the show, Breen and the New Haven Independent’s Allan Appel review THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, a new ensemble dramedy from director Martin McDonagh that follows a grieving, defiant mother seeking justice for her murdered child in a small town in the Ozark mountains of southern Missouri.

Pense nos últimos 10 filmes que você viu no cinema. Quantos deles tinham uma mulher na direção? Poucas? Pois é… infelizmente o baixo número de mulher na direção dos filmes é uma realidade tanto em Hollywood quanto no cinema brasileiro e em todo o mundo. E qual a diferença que tem em ter uma mulher na direção? Afinal, se elas representam 50% da população mundial, por que não correspondem a 50% das pessoas no mercado de trabalho? E de que forma o cinema reflete essa realidade que cria um problema de falta de representatividade? Para falar sobre a mulher na direção dos filmes, Rafael Arinelli e Daniel Cury conversam com Luísa Pécora (Mulher no Cinema) e Grecia Baffa (As Mathildas) sobre esse assunto. A conversa envereda exatamente pelo que você está pensando: machismo, representatividade e representação, discursos, situações. Falamos sobre Kathryn Bigelow, Patty Jenkins e sua Mulher-Maravilha, as trapalhadas do James Cameron, a importância de ter mulher fazendo até mesmo filmes que representam discursos mais machistas, Ava Duvernay e os filmes mais pessoais, a presença da mulher na direção de filmes “menores”, o paralelo com diretores “indies” que chegam rapidamente a Hollywood, e muitos outros assuntos. No Plano-Detalhe, ainda tem “Como Nossos Pais”, “artigo sobre diretoras de fotografia”, Merlí, palestra da Chimamanda Ngozie Adichie, filme da Julie Dash, documentário ucraniano, e muito mais! Então pegue seu chá, café ou leite quente, abra sua cabeça para novas ideias, e desfrute do podcast! E liberte-se! > 06m37: Repercussão > 16m28: Pauta Principal > 1h33m02: Plano Detalhe > 1h46m00: Encerramento & Erros de Gravação Fale Conosco: contato@cinemacao.com >> Contribua com o Cinem(ação) A partir de 10,00 você contribui para que o Cinem(ação) se mantenha ativo. Com textos diariamente, trailers dos lançamentos, artigos picantes e podcasts inspiradores, queremos manter a máquina girando e é você o motor para nossa continuidade. Com o apoio mínimo você estará ajudando não só nosso canal, mas o audiovisual brasileiro, pois atingimos milhares de pessoas que pensam e sonham com o cinema. Apoie nosso projeto agora e contribua para um produto melhor. http://bit.ly/apoia-cine http://bit.ly/patreon-cinemacao Planos Detalhes: >> Filme: Como Nossos Pais >> Artigo: “Pinto não é fotômetro”: um relato sobre mulheres diretoras de fotografia no Brasil >> Série: Merlí >> TED: Chimamanda Ngozi Adichie >> Filme: Daughter Of The Dust >> Livro: Adeus, Aposentadoria >> Documentário: Winter on Fire Edição: http://issoaidesign.com.br/

In this episode we are joined by Oscar Harding, a film researcher and producer based in the UK to discuss depictions of slave trade in film in reference to three films; Roger Gnoan M'Bala's underrated film "Adanggaman", Julie Dash's recently re-released "Daughters of the dust" and Haile Gerima's "Sankofa". Visit the African Cinema subreddit here; www.reddit.com/r/africancinema/ Check out Sharon's reviews and interviews on Cinema Escapist here; https://www.cinemaescapist.com/author/sharon-rwakatungu/

We're back! After a Summer hiatus we return with an episode discussing our February screening of Julie Dash's 1991 film Daughters of the Dust! Michael, Alison, and myself are joined by special guest Candrice Jones. Be sure to subscribe and rate us, send us comments and feedback about the show or films we discuss. www.filmquotesfilm.com filmquotesfilm@gmail.com

This week the Kyles are joined by Tristan to talk about Julie Dash's film, Daughters of the Dust. The normal segments are featured as usual. In this episode the creation of beefchuck.com takes place, and it is magnificent.

Wade won't shut up about La La Land on 4k and Wade and Tim talk with writer/director Julie Dash about her indie classic, "Daughters of the Dust." DigiGods Podcast, 04/25/17 (MP3) — 38.13 MB right click to save Subscribe to the DigiGods Podcast In this episode, the Gods discuss: The Affair: Season Three (DVD) Art Bastard (DVD) Borderless (DVD) Buena Vista Social Club (Blu-ray) Catfight (Blu-ray) Cemetery Sisters (DVD) Chupacabra Territory (DVD) Cinco de Mayo (Blu-ray) Dark Waters (Blu-ray) Death Nurse (DVD) Death Nurse 2 (DVD) Detour (Blu-ray) The Girl With All the Gifts (Blu-ray/DVD) La La Land (4k UHD Blu-ray) Land and Shade (DVD) The Levelling (DVD) Ludwig (Blu-ray) The Marine 5: Battleground (Blu-ray) The Other Hell (Blu-ray) Paris 05:59 (Blu-ray) Property is No Longer a Theft (Blu-ray) Rumble Fish (Blu-ray) Slasher.com (DVD) Splatter Architects of Fear (DVD) Story of Sin (Blu-ray) Takashi Miike's Dead or Alive Trilogy (Blu-ray) Tampopo (Blu-ray) The Umbrellas of Cherbourg (Blu-ray) The Vampire Bat (Blu-ray) The Young Girls of Rochefort (Blu-ray)   Please also visit CineGods.com. 

Set in the legendary Sea Islands off the South Carolina/Georgia coast in 1902, Julie Dash’s DAUGHTERS OF THE DUST (1991) follows a Gullah family (descendants of West African slaves) on the eve of its migration to the North. Led by a group of women who carry with them ancient African traditions, the extended family readies itself to leave behind friends, loved ones and their insulated way of life. Can these women hold fast to their sacred religious beliefs and customs, or will their world be swept away in the course of a new century? This richly costumed drama, structured in tableaux to reflect the art and icons of African tradition, testifies movingly to the secret celebrations and packed-away sorrows of African-American women. These vital images were introduced to a new generation on a massive scale earlier this year, when the film was heavily referenced in Beyoncé’s visual album, Lemonade. DAUGHTERS OF THE DUST became the first film by an African-American woman ever to receive widespread theatrical release. Enriched by John Barnes’s eclectic score and Arthur Jafa’s Sundance Film Festival-prize-winning cinematography, listed in the National Film Registry DAUGHTERS OF THE DUST was hailed as one of the most visually and sonically ravishing in American independent cinema. Director Julie Dash joins us for a conversation on her sweeping, absorbing and poetic homage to African culture. For news and updates go to: daughters-of-the-dust

It's nirvana for Italian cinema fans with glorious new Blu-rays of Blow-Up and Cinema Paradiso! Also, Oscar-nominated Toni Erdmann, the Blu-ray debut of Julie Dash's Daughters of the Dust and grindhouse classic Honky Holocaust! DigiGods Podcast, 04/11/17 (MP3) — 32.04 MB right click to save Subscribe to the DigiGods Podcast In this episode, the Gods discuss: Americana (DVD) Archer - The Complete Season Five (Blu-ray) B.C. Butcher (Blu-ray) The Babymooners (DVD) Blow-Up (Blu-ray) The Bride (La Novia) (DVD) The Bye Bye Man (Blu-ray/DVD) The Carol Burnett Show: The Best of Tim Conway (DVD) Children of the Mountain (DVD) Cinema Paradiso (Blu-ray) Claire in Motion (DVD) Clandestine (DVD) Daughters of the Dust (Blu-ray) Demon Seed (Blu-ray) Drive-In Massacre (Blu-ray) Fragments of Love (DVD) The Girl and the General (DVD-R) Honky Holocaust (Blu-ray) Joe Bullet (DVD) The King of New Orleans (DVD) Lion (Blu-ray) Lonely Boys (DVD) Love Camp 7 (Blu-ray) The Mafia Kills Only in Summer (DVD) Masterpiece: To Walk Invisible: The Brontë Sisters (Blu-ray) Medium: The Complete Series (DVD) Millionaires in Prison (DVD-R) Murderlust (DVD) The Orphan Killer (Blu-ray/DVD) The Passing Season (DVD) Return Of Kung Fu Trailers Of Fury (Blu-ray) Road to the Well (DVD) Secrets of the Six Wives (DVD) Split (DVD) Stevie-D (DVD) Suspects, Series 5 (DVD) Sword Master (Blu-ray) Three (Blu-ray) Toni Erdmann (DVD) The Valley of Gwangi (Blu-ray) Veep: The Complete Fifth Season (Blu-ray) The Violent Shit Collection (DVD) Vitaphone Varieties: Volume 3 (1928-1929) (DVD-R) War on Everyone (Blu-ray/DVD) Wentworth, Season 2 (DVD) Wild Beasts (Blu-ray) Please also visit CineGods.com. 

This week on StoryWeb: Beyoncé’s album Lemonade. Beyoncé slays. That’s the only word to describe her achievement on her most recent album, Lemonade. Now I am not a big fan of hip hop or pop music or what the Grammys call urban contemporary music, but ever since Beyoncé’s performance of “Formation” at last year’s Super Bowl, I have been mightily intrigued by this powerhouse of a performer. For Beyoncé’s songwriting and performance go well beyond hip-hop or pop music or urban contemporary or R&B. Indeed, it seems that any genre is just too narrow to contain Beyoncé. “I am large,” said Walt Whitman. “I contain multitudes.” The same might very well be said of Beyoncé. She slays precisely because she contains vast multitudes. “Formation” – especially the video Beyoncé released the day before the Super Bowl – made me sit up and take notice. Indeed, it made an entire nation sit up and take notice. Like many Americans, I pored over the video, read the lyrics online, read analyses of the song and the video, talked with others about what they were hearing and seeing. So many layers of African American history – from Creole culture to New Orleans and Hurricane Katrina, from the Black Power movement to Ferguson and #blacklivesmatter. I continue to watch the video and listen to the song – and I continue to hear and see new cultural references every time I witness this powerful piece. Two months later, Beyoncé released Lemonade, both as a “conventional” album (which in its release exclusively via the Tidal streaming service can hardly be called “conventional”) – and quite unconventionally, as a “visual album.” Back in the 1970s, we would have called this a “concept album” – but the term “visual album” refers to the fact that the entire album is also presented as a 65-minute film, which premiered on HBO in April 2016 the same day the album was released. It’s safe to say that Beyoncé and her husband, rapper Jay Z (who owns Tidal), likely earned considerable money from this album and film. As she says in “Formation,” “I might just be a black Bill Gates in the making.” On the surface, Lemonade may tell the story of Jay Z’s infidelity, but to say that makes it sound as though you’re getting the latest issue of Us magazine or some other celebrity gossip rag. Lemonade is not that. You couldn’t say Beyoncé slays on this album if this were merely a tell-all complaint. No, Lemonade tells the story of marital infidelity in such a way that Beyoncé – as the narrator of these songs – becomes a stand-in for all women who have been betrayed, particularly all black women who have been denigrated as second-class citizens (or worse). The album’s title is drawn from Jay Z’s grandmother, who is shown in the film at her 90th birthday party: “I was served lemons, but I made lemonade.” Spin magazine calls Lemonade “a visual tale of grief, resurrection, and black female empowerment” and goes on to say: On first listen, Beyoncé’s new album Lemonade is all about Jay Z’s cheating. But the 65-minute film accompanying the music makes the personal political by visually empowering black women, celebrating Deep Southern culture, and referencing the Black Lives Matter movement, Malcolm X, and Hurricane Katrina. Beyoncé is not just a single woman scorned — she represents a scorned demographic, or as the film directly quotes Malcolm X: “The most neglected person in America is the black woman.”   The visual album features the work of British-Somali poet Warsan Shire; the mothers of Trayvon Martin, Michael Brown, and Eric Garner, who hold photos of their dead sons; and appearances and contributions from African American celebrities and artists from Serena Williams to Kendrick Lamar. Jay Z also appears near the end of the film, and Ivy Blue Carter, Beyoncé and Jay Z’s young daughter, makes more than one appearance.   The cinematography and some of the actual scenes in the visual album strongly echo Julie Dash’s revolutionary 1991 film, Daughters of the Dust. According to The Washington Post, Daughters of the Dust is “widely recognized as the cultural antecedent” to Lemonade. NPR interviewed Dash about last year’s rerelease of her film. When asked how she responded to Lemonade, Dash said: I was, in a word, enthralled. I was stunned. My mouth was hanging open a gap. I was so taken by the music, the visuals, the non-linear story structure. I was – I was in heaven. . . . I was very pleased. I was very pleased. To learn more about the album and to participate in a lively, ongoing discussion about it, go to Twitter and use LemonadeSyllabus as your hashtag. To read the lyrics to each song and learn the behind-the-scenes back story to the evolution and composition of each song, visit Genius.com. The Atlantic also offers a substantial and insightful analysis of the album.   If you want to get deep into the heart of what Lemonade represents and whether Beyoncé is contributing to the liberation of African American women, you might want to explore the debate started by the nuanced and not always positive view of the album and film offered by African American cultural and feminist critic bell hooks. Her commentary – “Moving Beyond Pain” – sparked considerable discussion. The website Feministing is a good place to explore this lively conversation and to peruse a variety of responses to hooks’s assessment.   Visit thestoryweb.com/beyonce for links to all these resources and to watch the video for “Formation.”   At the end of the day, Beyoncé slays. As she says at the end of the album, you know you’re it “when you cause all this conversation.”  

On this week's episode, Daniel and Reed discuss the future of the Star Wars universe, the re-release of Julie Dash's, Daughters of the Dust, and the Silence Trailer. Later on, they review Disney's latest, Moana. Showtimes, Folks!  (Intro: 00:00) News - ALL BUT CONFIRMED  (Kathleen Kennedy on Future of Star Wars: 2:15) (Julie Dash & Women in Film: 12:02) (Article) Julie Dash Made a Movie. Then Hollywood Shut Her Out. (Silence Trailer: 18:27)   Reviews (Moana: 26:05)    Recommendations/Box Office (Edge of Seventeen: 42:59) (Nocturnal Animals: 47:46) (Horace & Pete: 49:35) (Paddington: 51:19) (Box-Office/Outro: 52:30)   Cover art by Phil Brown  Music By The Passion HiFi www.thepassionhifi.com  

On episode 29 of Black Girl Squee, hosts Inda Lauryn (@indascorner) and Didi Jenning (@dustdaughter) celebrate friend of the show, Savannah J. Frierson's new release, Manna Tree (https://t.co/IXYpWe813g ) and the re-release of Julie Dash's "Daughters of the Dust". Inda launches a great new Teespring Campaign here: https://t.co/RGv7nZDxKf . Instead of recapping HTGAWM we talk about the disturbing pattern of characters of color being killed off TV shows for shock value alone. In Squee Queens we celebrate the lives of Gwen Ifill and Sharon Jones. There's repeat nominees on DWIDP and another timely Womanist Vocab word. Intro/Outro is "I'm Still Here" by Sharon Jones and the Dap Kings. Contact us on Twitter: @blackgirlsquee, @indascorner, @dustdaughter; Tumblr: blackgirlsquee.tumblr.com; Email: blackgirlsquee@gmail.com; iTunes: https://itunes.apple.com/us/podcast/black-girl-squees-podcast/id1029727623?mt=2; Simplecast: blackgirlsquee.simplecast.fm/

This week on StoryWeb: Janet Frame’s memoir “An Angel at My Table.” If you haven’t read Janet Frame’s work and if you haven’t seen Jane Campion’s film An Angel at My Table, you must rectify these oversights immediately. You’ve likely heard of New Zealand film director Jane Campion – or at least seen one of her films. Probably the best known of them is The Piano, starring Holly Hunter. It won Campion the Oscar for Best Original Screenplay in 1994. And you may have seen Campion’s adaptation of Henry James’s novel The Portrait of a Lady, a film that starred Nicole Kidman. But to my mind and sensibility, An Angel at My Table – based on New Zealand writer Janet Frame’s three-volume memoir – is a too-often-overlooked masterpiece. Reading Janet Frame’s work – whether the three-volume memoir or her short fiction – is a treat in and of itself. But Jane Campion’s film brings New Zealand to vivid life and immerses us viscerally in Frame’s difficult but ultimately triumphant and redemptive life. Three actresses play Frame at various ages, from her childhood in a poor, working class family in Dunedin to her adolescence marked by devastating loss to her adult years, which take Frame to a psychiatric hospital, to England and Spain, and eventually back to New Zealand. I won’t give away any more of Frame’s life story – you must watch Campion’s film or read Frame’s memoirs (or both!). But I will tell you this. Since An Angel at My Table is one of my favorite films (along with Walt Disney’s Mary Poppins and Julie Dash’s Daughters of the Dust), I insisted that my book and movie club watch it. As we watched the film together, my friend Karin kept exclaiming as Janet Frame endured one tragedy after another. Karin felt the film was unrelenting in its bleakness and sorrow. But for me, Janet Frame’s story is ultimately one of triumph, redemption, and even celebration. The ending is my favorite part of the film: Janet Frame dancing in her father’s shoes, typing her work in a small trailer outside her sister’s house, and most of all, remembering how she and her sisters would sing the Robert Burns poem “Ah, ah! the wooing o’it.” Just typing those words – “Ah, ah! the wooing o’it” – makes me smile, as I reflect on what Janet Frame made of her life. To learn more about this wonderful writer, visit the website of the Janet Frame Literary Trust or the multipage exhibit about Frame at the Encyclopedia of New Zealand website. You also might want to read Michael King's book-length biography, Wrestling with the Angel: A Life of Janet Frame, or The Oxford Companion to New Zealand Literature’s biography of her. The Guardian published an excellent obituary of Frame when she died in 2004, as did the New York Times. Visit thestoryweb.com/frame for links to all these resources and to watch a six-part New Zealand television documentary about Janet Frame. It features interviews with this wonderful writer. You’ll also want to watch the trailer to Jane Campion’s film and the short 30-second scene when the young Janet and her sisters sing “Ah, ah! the wooing o’it.”  

In Nerdtastic News, LISNR could replace Bluetooth as go-to wireless information technology. For the Black-Owned Business of the Week section, Turner Classic Movies to Showcase Films by Women Directors This Month (Ava DuVernay, Julie Dash, Euzhan Palcy, Kathleen Collins + More Included).  On October 22nd,  they will air an entire night of independent black films by black female directors. Our topics are TV Fall premieres of Sleepy Hollow, Minority Report, Empire, Dr. Ken and Agents of Shield.  We also asked that tv networks #PleaseLetThisGo.   There is a list of shows we would like to end on a high note & end the series already.  Our list contains Bones, Supernatural and Fear the Walking Dead.  We try to hold an intervention for Melissa about her holding on to Big Bang Theory.   

With the billions raised through Kickstarter and Indiegogo, is there really a need for a crowdfunding portal to specialize in ‘Black’ projects?The Digital Drummer's new co-host Tech Advocate BONNIE SANDY beats the drum with Culturalpreneur MARLIN L. ADAMS, ESQ straight from the Underground Space Shuttle. As Founder and CEO of CulturalGrassroots.com Marlin Adams brings to discussion the need for Black crowdfunding portals!Call In (646) 716-7994 or join in the interactive chat. Marlin L. Adams has many years of experience in business as an attorney, film distributor, producer and essayist. Marlin coined the term “cultural grassroots” in the mid 1990’s as VP of Legal/Business Affairs for KJM3 Entertainment Group, the independent film distribution company behind the success of Julie Dash’s, “Daughters of the Dust”, and Raoul Peck’s, “Man By The Shore”. Contact: madams@culturalgrassroots.com madams@culturalgrassroots.com As the official radio broadcast of the Urban Tech Fair, from blog to radio, Jim Neusom brings to conversation some of the awesome, interesting, historical, and down right technical digital information he shares online...From Blacks and people of color in Technology to S.T.E.M., latest tech trends and strategies that empower us and our communities. For Urban Tech Fair updates subscribe to The Urban Tech Fair at www.urbantechfair.org.