Black women filmmakers
Encyclopedia
Black Women Filmmakers are a group of underrepresented women that have contributed tremendously in the filmmaking industry. Geographically, these women come from all across the world including places such as the United States, Britain, Canada, countries within Africa, and more. Therefore, it is important to understand their history and current struggles.
Jacqueline Bobo, an associate professor in the women’s studies program at the University of California, Santa Barbara, argues that the general public sees Black women’s works as small, irregular works of interest to small circle of intimate friends. Yet what the public fails to see is that, in fact, Black women have gone to prestigious educational institutions (I.E. Columbia University, UCLA, USC, Chicago Institute of the Arts, Northwestern, NYU, etc.) and have earned Masters of Fine Arts degrees from their prospective prestigious graduate film and television programs. Therefore, the idea that these women’s works are simply small and catered to a diminutive group of people is by no means true. For, these respected Black women have mastered the understanding of cinema
and media history, theory
, and criticism all of which is demonstrated in their works resulting into exemplary films and video.
During the 1930s other pioneer Black female filmmakers included Zora Neale Hurston, a folklorist who created work centering on ethnographic films. Zora Hurston earned her MA in Cultural Anthropology at Columbia University. In addition, Eslanda Goode Robeson is another 1930’s pioneer regarding Black female filmmakers. She too held a Ph.D. in Anthropology and made ethnographic films similar to Hurston’s reels. Yet, similar to Hurston’s films, they are available for viewing at the Library of Congress but their fragile conditions renders it inaccessible for public screening.
Baraka recalls the Black aesthetics and for so many Black women filmmakers, they too found this to be true within their works. Black women filmmakers found themselves inspired through their rich histories and through the poor representations that Hollywood cinema had to offer, thus for the most part, they chose to depict their true identities and stories though various distinct styles and perspectives. These styles and perspectives included, documenting black lives, black women narratives, social movements, cultural movements, cultural and creative processes, experimental representation, womanist Black feminism, Afrocentric feminism, Third World feminism, womynism, and African feminism. These Black women filmmakers not only provided astute analyses of Black women’s films and videos but also contextualized the works within the broader spectrum of film and video production and criticism
has taken action through her own hands and her website Sisters in Cinema has a donate tab where one can support Black women filmmakers. There are also other foundations such as the Black Women Film Network where scholarships are awarded to Black women who are pursuing their career in film, screenwriting or a related areas; screenings; workshops and seminars. They're main goal is to help support black women in the making of their untold stories.
Debbie Allen
Madeline Anderson
Neema Barnette
Julie Dash
Zeinabu irene davis
Ngozi Onwurah
Frances-Anne Solomon
Yvonne Welbon
Black Women Filmmakers
According to Nsenga Burton, writer for the Root, "the film industry remains overwhelmingly white and male." This is true to this day yet what is even more striking is the representation when looking at the number of Black women filmmakers in the United States. In her book, Black Women Film and Video Artists, Jacqueline Bobo notes that, "there is a substantial body of work created by Black women film/video makers, extending back to the early part of this century. Unfortunately, the work is overlooked not only by many distributors, but also by critical reviews and scholarly analyses, with the notable exception of those by Black women scholars, have been few and far between." Therefore, when looking at Hollywood’s industry Black women filmmakers become the most unnoticeable, they become existent only in the periphery of the industry. In other words, it may be somewhat apparent that Black women filmmakers are small in numbers but the fact of the matter is that there are many black woman filmmakers that are actively contributing to the film industry.Jacqueline Bobo, an associate professor in the women’s studies program at the University of California, Santa Barbara, argues that the general public sees Black women’s works as small, irregular works of interest to small circle of intimate friends. Yet what the public fails to see is that, in fact, Black women have gone to prestigious educational institutions (I.E. Columbia University, UCLA, USC, Chicago Institute of the Arts, Northwestern, NYU, etc.) and have earned Masters of Fine Arts degrees from their prospective prestigious graduate film and television programs. Therefore, the idea that these women’s works are simply small and catered to a diminutive group of people is by no means true. For, these respected Black women have mastered the understanding of cinema
Film
A film, also called a movie or motion picture, is a series of still or moving images. It is produced by recording photographic images with cameras, or by creating images using animation techniques or visual effects...
and media history, theory
Theory
The English word theory was derived from a technical term in Ancient Greek philosophy. The word theoria, , meant "a looking at, viewing, beholding", and referring to contemplation or speculation, as opposed to action...
, and criticism all of which is demonstrated in their works resulting into exemplary films and video.
History
Looking at the history of black women filmmakers, Jacqueline Bobo establishes that black women filmmakers have been productive throughout the twentieth century. Dating back to the 1900’s black women filmmakers have created a Genesis of a Tradition. In other words, through Gloria J Gibson-Hudson’s essay titled, "The Ties That Bind: Cinematic Representations By Black Women Filmmakers," she notes that these black women have developed a framework or “commonalities” that evolved from social and historical circumstances. Furthermore, historically, there seems to be a clear goal of promoting survival strategies for black women and transforming them into socially committed viewers. In addition, black women filmmakers have traditionally felt the need to challenge the oppression that they historically have encountered. Thus, showing a strong resistance of this oppression through their work. When looking at the subject matter, it is noticeable that black women filmmakers have produced long-form narratives as well as complex innovations with a variety of forms. These subject matters are concerned with vital issues such as cultural politics, domestic relations, sexuality, black women’s relationships to concepts of physical reality (including hairstyles and color consciousness) and portraits of cultural, social, and political activists, among other topics.- Documentation exists of Black women producing and directing films during the prolific interim of Black film production from 1910 through the 1920s. Archivist and film scholar Pearl Bowser notes that Black women worked behind the camera on numerous films during this time on what were known as “race” film, that is, independent films produced by Black filmmakers, rather than white-controlled films about Black life. Historical records show that two women were especially noteworthy in filmmaking during this period. Madame C.J. Walker, one of the first Black millionaires, made her fortune manufacturing and distributing cosmetics and hair-care products for Black women. In addition to her retail business, Walker owned the Walker Theater in Indianapolis, and produced training and promotional films about her cosmetics factory. These films, Bowser declares, “offered a visual record of women’s work history” and the “development of cottage Industries.” Bowser also points to the importance of Madam Toussaint Welcome, Booker T. Washington’s personal photographer, who produced at least one film about Black soldiers who fought in World War I.
During the 1930s other pioneer Black female filmmakers included Zora Neale Hurston, a folklorist who created work centering on ethnographic films. Zora Hurston earned her MA in Cultural Anthropology at Columbia University. In addition, Eslanda Goode Robeson is another 1930’s pioneer regarding Black female filmmakers. She too held a Ph.D. in Anthropology and made ethnographic films similar to Hurston’s reels. Yet, similar to Hurston’s films, they are available for viewing at the Library of Congress but their fragile conditions renders it inaccessible for public screening.
What Inspired Black Women Filmmakers?
An essay written by Claudia Springer in 1984, talks about fifteen Black women filmmakers who worked in Los Angeles. Most of these women had received an MFA in motion picture and/ or television production at UCLA. The other women received their MFA in cinema production from USC. Interestingly enough, though, they all shared one inspiration and goal. According to Springer, they said they chose filmmaking as a way to express their ideas, to influence or enlighten audiences, and to counteract the damage caused by Hollywood’s inadequate treatment of Black people . Black women filmmakers feel it necessary to reach Black people with responsible depictions of Black life; it has become imperative.- We wanted an art that would actually reflect Black life and it’s history and legacy of resistance and struggle! . . . We wanted an art that was as Black as music . . . an art that would educate and unify Black people. In our attack on an anti-Black racist America . . . We wanted a mass art, an art that could Monkey out the libraries and Boogaloo down the street in tune with popular revolution . . . What we wanted to create would be African American and revolutionary. In fact, it would be the real link to our history – part of the mainstream of Black art through the century
Baraka recalls the Black aesthetics and for so many Black women filmmakers, they too found this to be true within their works. Black women filmmakers found themselves inspired through their rich histories and through the poor representations that Hollywood cinema had to offer, thus for the most part, they chose to depict their true identities and stories though various distinct styles and perspectives. These styles and perspectives included, documenting black lives, black women narratives, social movements, cultural movements, cultural and creative processes, experimental representation, womanist Black feminism, Afrocentric feminism, Third World feminism, womynism, and African feminism. These Black women filmmakers not only provided astute analyses of Black women’s films and videos but also contextualized the works within the broader spectrum of film and video production and criticism
Monetary Struggles
As noted Black women filmmakers have been producing work dating back to the 1900s. They have produced numerous works, yet there are still eminent struggles they face. First and foremost, when it comes to money and the production funding, Black women filmmakers constantly find themselves bumping their head against a financial glass ceiling. The cost to produce a film is getting costly every year and because there has not been much support for many Black women filmmakers, it has become a constant struggle. There have been attempts to help with the funding and various sites on the internet can be found where donations are being accepted. Yvonne WelbonYvonne welbon
Yvonne Welbon is an American independent film director, producer and screenwriter based in Chicago.-Biography:Welbon has directed eight films and produced a dozen others. Her work has been screened on PBS, Starz/Encore, TV-ONE, IFC, Bravo, BET, the Sundance Channel and in over one hundred film...
has taken action through her own hands and her website Sisters in Cinema has a donate tab where one can support Black women filmmakers. There are also other foundations such as the Black Women Film Network where scholarships are awarded to Black women who are pursuing their career in film, screenwriting or a related areas; screenings; workshops and seminars. They're main goal is to help support black women in the making of their untold stories.
Debbie AllenDebbie AllenDeborrah Kaye “Debbie” Allen is an American actress, dancer, choreographer, television director, television producer, and a member of the President's Committee on the Arts and Humanities...
- The Old Settler (2001)
- Life Is Not A Fairy Tale- The Fantasia Barrino Story (2006)
- Alex In Wonderland (2008)
Madeline Anderson
- Integration Report I (1961)
- Malcom X- Nationalist or Humanist (1967)
- Sesame Street/ Electric Company (1964-1969)
- I Am Somebody (1970)
- Infinity Factory (1977)
Neema BarnetteNeema BarnetteNeema Barnette is an American film director, and the first African American woman sitcom director. Barnette was the first African American woman to get a three picture deal with Sony....
- The Cosby Show (1989-1990)
- American Playhouse- Zora Is My Name (1990)
- A Different World (1990-1991)
- Run For the Dream- The Gail Devers Story (1996)
- Civil Brand (2002)
- All You've Got (2006)
- Super Sweet 16: The Movie (2007)
- Heaven Ain't Hard to Find (2010)
Lillian Benson
- All Our Sons: Fallen Heroes of 9/11 (2003)
- Cat Champion- Big Blue Marble series (1982)
- Circus Rider- Big Blue Marble series (1980)
Ayoka Chenzira
- Syvilla: They Dance to Her Drum (1979)
- Hair Piece: A Film for Nappyheaded People (1984)
- Secret Sounds Screaming: The Sexual Abuse of Children (1986)
- The Lure and the Lore (1988)
- Zajota and the Boogie Spirit (1989)
- Alma's Rainbow (1993)
Julie DashJulie DashJulie Dash is a United States filmmaker. She directed Daughters of the Dust, which in 1991 became the first full-length film with general theatrical release in the United States by an African American woman...
- Dairy of an African Nun (1977)
- Four Women (1975)
- Illusions (1982)
- Praise House (1991)
- Daughters of the Dust (1991)
- SUBWAYStories: Tales from the Underground (1997)
- Funny Valentines (1999)
- Incognito (1999)
- Love Song (2000)
- The Rosa Parks Story (2002)
Zeinabu irene davisZeinabu irene DavisZeinabu irene Davis is an African American filmmaker and professor of the Department of Communication at the University of California, San Diego. The filmmakers's husband and daughters inspire Davis' films and serve as the driving force for her career...
- Filmstatement (1982)
- Re-creating Black Women's Media Image (1983)
- Crocodile Conspiracy (1986)
- Sweet Bird of Youth (1987)
- Cycles (1989)
- Trumpetistically, Clora Bryant (1989)
- A Period Piece (1991)
- A Powerful Thang (1991)
- Mother of the River (1995)
- Compensation (1999)
- Passengers (2009)
Barbara McCullough
- Water Ritual #1: An Urban Rite of Purification (1979)
- Shopping Bag Spirits and Freeway Fetishes: Reflections on Ritual Space (1981)
Ngozi OnwurahNgozi Onwurah- Early life :Ngozi Onwurah was born in 1966 in Nigeria to a Nigerian father, and a white British mother, Madge Onwurah.She has one sibling, Simon Onwurah. As children, Onwurah's mother was forced to flee with her children from Nigeria in order to escape a Civil War. They fled to England,...
- Coffee Colored Children (1988)
- And Still I Rise (1991)
- The Body Beautiful (1991)
- Monday's Girls (1993)
- Welcome II the Terrordome (1994)
- The Desired Number (1995)
- Shoot The Messenger (2008)
Jacqueline Shearer
- A Minor Altercation (1977)
- The Promised Land (1990)
- Keys to the Kingdom (1990)
- The Massachusetts 54th Colored Regiment (1992)
Frances-Anne SolomonFrances-Anne SolomonFrances-Anne Solomon is a Trinidadian-Canadian-British filmmaker, writer, producer, and entrepreneur.Born in England of Trinidadian parents, she began her professional life at the BBC in England, where she built a successful career as a Producer first with BBC Radio then with BBC television drama...
- I Is A Long Memoried Woman (1990)
- Reunion (1992)
- Bideshi (1994)
- What My Mother Told me (1995)
- Peggy Su (1998)
- Lord Have Mercy! (2003)
- A Winter Tale (2007)
Jocelyn Taylor
- 24 Hours a Day (1993)
- Frankie & Jocie (1994)
- Bodily Functions (1995)
Yvonne WelbonYvonne welbonYvonne Welbon is an American independent film director, producer and screenwriter based in Chicago.-Biography:Welbon has directed eight films and produced a dozen others. Her work has been screened on PBS, Starz/Encore, TV-ONE, IFC, Bravo, BET, the Sundance Channel and in over one hundred film...
- Monique (1991)
- Cinematic Jazz of Julie Dash (1992–93)
- Sisters in the Life: First Love (1993)
- Missing Relations (1994)
- Remembering Wei Yi-Fang, Remembering Myself (1995)
- A Taste of Dirt (2002)