FilmClick

“Black women are dying for love.” Through city streets, suburban cul-de-sacs, and country roads a new millennial incarnation of an old illness has become the leading killer of African American women aged 25-34.  Black women who are dying from sexually transmitted infections has reached epidemic proportions. Seen, But Not Heard: AIDS and the Untold War against Black Women tells the story of the African American women who have become the newest faces of HIV/AIDS.

“In 2006, AIDS in America is a black disease,” said Phill Wilson, executive director of the Black AIDS Institute in Los Angeles. The Center for Disease Control (CDC) estimates that about 1.1 million Americans are infected with HIV, with blacks making up 47 percent of them. Of new AIDS diagnoses by race and ethnicity, 67% of the women are Black. In major cities around the country, Black women have the highest infection rates of HIV/AIDS.

One of the greatest advantages of television is that, in the privacy of their own homes, viewers can learn the facts about HIV/AIDS and can see the psychosocial impact on people infected and affected by the disease. This opportunity, however, does carry responsibilities, including the duty to provide information that is factually accurate, nonjudgmental and culturally sensitive. The final result is that the knowledge that is provided about HIV and AIDS not only heightens awareness of how to avert infection, but it also lowers fear of, and discrimination against, people with HIV/AIDS. Therefore, the broadcast and distribution of this documentary serves several purposes. Most importantly as an educational tool to be used for discussions, workshop and forums. A video that will help friends, family members, health care providers, community organizations and faith based institutions explore their anxieties, fears and concerns about AIDS and related issues.

What led you to make this film?

As an artist, my work examines disenfranchised communities and environments. I am interested in producing narratives and documentaries involving issues mainstream media usually ignores. As a media activist/educator, I believe it is important to put the media into the hands of those, who have limited or no access to these tools of representation. The viewing public needs to critically examine who controls the media and encourage a greater responsiveness to our needs. We can then use this medium to empower ourselves.

The concept of this project as for many of projects I’ve produced grew out of my community media work. As a media educator, I was part of the team for “Seeing thru AIDS”, a project of the defunct non-profit, Media Network. Created by Lillian Jimenez, “Seeing Through AIDS” were media literacy workshops conducted at various health organizations, community based groups and AIDS organizations throughout New York City. This pioneering media literacy project offered training to thousands of health care providers to incorporate media into their AIDS counseling, prevention, and support work. This experience led to a commitment to AIDS awareness and prevention as well as a pledge to work with several AIDS organizations such as LifeBeat, The Women’s Institute of GMHC, Living Beyond Belief, Incarnation Children’s Center and most recently, Iris House.  In my work with several of these organizations, especially those dealing with women, it became obvious that there was a lack of materials, programs and media that addressed the specific concerns and issues of women of color with AIDS. Research for this project began around 2000, since then thousands of articles, books, research materials and videos have been collected, reviewed and archived. In 2006, with a small grant from the Paul Robeson Fund, pre-production and minor shooting began.

What were some of the greatest challenges you faced in making this film?

One of the two greatest challenges I faced making this film is fundraising. Many feel that because technology has made filmmaking more affordable that it should be easier and less expensive to make films. But the equipment is one aspect of the filmmaking process. Having a good crew and the resources to do the necessary research, is vital to a documentary. It’s has been and continues to be extremely difficult to raise funds through grants and events especially during these very questionable economic times.

Another challenge is the issue itself. AIDS is not the hot button issue it was the late 80’s/early 90’s. The funding, interest and support has nearly disappeared since AIDS has become more and more a disease of Black and people of color.  It’s a long and tedious process convincing funders and as well as members within the Black community, that AIDS has evolved to the point that it has moved from an epidemic to a pandemic.  The lack of public outrage as well as media attention has fueled this disease. Therefore, this project has become increasingly vital, despite the challenges, frustrations and lack of funding.

What impact do you hope this film will have?

The overall goal of this project is to reach the largest possible audience in an effort to raise awareness about HIV and AIDS. But the specific target audience for this program will be the African American community, especially middle to working class black women of all sexual orientations between the ages of 25yrs. to 44yrs. The goal will be achieved through a possible broadcast, community screenings and integrated and interactive marketing and outreach plan

What are you working on now, or next, and how do you find documentary projects?

Currently, my focus is on completing this documentary. Although, the trailer has been very effective as a short, there are many more issues and concerns that can be addressed in a longer form.

What are your three favorite films?

It’s hard to narrow my favorite films to just three choices but some of my top picks are two documentaries, Spike Lee’s Four Little Girls and Listen Up: The Lives of Quincy Jones and Alfred Hitchcock’s Rear Window.

Many of our users are just starting out; what advice do you have for aspiring filmmakers?

There are several ways that an aspiring filmmaker can start out. One way is to intern or serve as an apprentice on a film. Working with someone who you are familiar with their work, can be a very rewarding educational experience.

Again, since technology has made some aspects of filmmaking more accessible and affordable. One should just pick up a camera and start shooting. There are many how to books that can be purchased that provide a fairly good overview of the filmmaking process. Assuming this is your passion, you will learn and develop your style and skills through a trail and error experience.

The last way, which is the most common way of leaning filmmaking is to go to school. Film schools and media programs have become as competitive as most good medical school programs. Although, this is probably the most expensive way of learning one’s craft.

Have you placed your films online and do you think it’s a good outlet for young filmmakers to get exposure?

No, I haven’t placed any of my films in its entirety or as small clips online. I think the trick is how to figure out how much of your work you want online, how you want or need it to benefit you and how to market/promote what you have placed online.

Did you go to film school?  If yes, where and what did you think of the experience?

I have a BFA in Film from Syracuse University and a MA from The New School University.

What are the other films you have made?

Working in film and video, I’ve collaborated on various documentaries that have aired on PBS, TNT and the BBC. I was also the co-founder of Black Planet Productions, which produced the award winning grassroots series Not Channel Zero- the revolution, televised. As a member of this collective, I co-produced a number of critically acclaimed documentaries including, “Black Womyn, Sexual Politics and the Revolution.” I also produced and directed a number of documentaries and community-oriented programs dealing with issues such as AIDS, homophobia, sexism and racism, such as Healthcare in Jamaica, Respect is Due

Which filmmakers have most influenced your work?

Spike Lee, Alfred Hitchcock, Martin Scoresee, Julie Dash, Stanley Nelson,

What do you think film festivals like We the People offer to the dialogue about issues facing our society?

I believe film festivals like We the People, provide a forum for  filmmakers and audiences of like minds to dialogue about issues that general don’t get discussed in mainstream media. As we see in this upcoming Presidential election, the issues that concerns the average person rarely gets addressed.

What format (film, video, hi-def) and camera did you use and why did you choose the format and camera?  If you had a choice, would you use that camera again?

Some of the b-roll was shoot on mini dv but the majority of the footage and all of the interviews was shot in 24p.

What other festivals is your film appearing in?

So far, the film has screened at the
Arizona Black Film Festival,
Hollywood Black Film Festival, Los Angeles
Women of Color Film Festival in Atlanta,
Black Women Art and Film Festival in Philadelphia
The DC Shorts Film Festival, Washington D.C.
Urbanworld Film Festival, NYC
Baltimore Women’s Film Festival

What was your goal when you decided to make the film?

The main goal of this project is to raise awareness about HIV/AIDS and to keep this topic “front and center” in the nation’s consciousness.  One of the most effective methods of achieving this goal is to partner with community based organizations. Several community based organizations and non-profit groups in New York City and other major cities will serve as media contacts and regional coordinators for the screening of the documentary. For communities just beginning to deal with the impact of HIV and AIDS, the documentary will provide the needed catalyst for meaningful dialogue among community-based organizations, state and local government officials, health department representatives, AIDS service organizations and key community leaders.

How much did it cost to make the film?

With a $7,000 grant awarded from the Paul Robeson Film Fund, production began in New York City during the summer of 2006. In the summer of 2007, the short was completed. Currently, we have outstanding grants with Gilead/Iris House with a commitment of $5,000, $20,000 committed by the Black Leadership Commission on AIDS of NYC and $2,000 recently awarded from the NY/Urban Arts Initiative.

“Seen But Not Heard” will be playing October 17 at We the People: A Documentary Film Festival at the Echo Park Film Center 1200 N. Alvarado St., Los Angeles, CA

For more info on We the People, visit:
http://www.tradeandrow.org/wethepeople/index.html