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

Tell us about your film. Why should people see it?
“The Rising Tide” traces the 3 year struggle the US boat Building industry went through when the 1990 Luxury Tax was passed. The Healey Brothers of Viking Yachts lead the fight for the repeal as they sought to save their company.  In so doing, they helped save the industry.  The story highlights a unique sense hard work and determination.  Its a story for families and workers that shows how people can make a difference.

What led you to make this film?

The current political climate and economic strains on the business community.

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

My eyes were opened by the number of people who liked the story and told me they could help, “make it happen”.  When it comes to the financing you learn who the stand up people are and who the talkers are.  Fortunately, after a rough start I found a small group of people that share the vision and worked extremely hard to make this happen.

What impact do you hope this film will have?

I hope this film motivates people that are faced with what seems to be insurmountable odds.  I hope people find a true understanding of the role small businesses play in the economy and how governmental regulations ripped through the work force unbeknownst to the lawmakers.

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

We are currently working on a music video for the new title song. We have a young talented artist who saw our documentary and was inspired to write a song based on the piece.  We are helping him produce the song and shoot a video.

What are your three favorite films?

Today, last year, ever, wow that is too hard for me say.  I am a big fan of comedy and can watched all the Marx brother films when I was a kid.  I appreciate the technology that Pixar studios brought to the industry and if I am with my kids it would be films like We Are Marshall or Remember The Titans.  So I could not just give you three.

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

If you want to make a small fortune in films, start with a very large fortune.  Find something that you are passionate about, that sounds cliché but without it the obstacles will get the best of you.  Eliminate the distractions as much as possible and do it for the reasons that advance the audience from their position prior to seeing your work.

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

We haven’t gone on line yet.  I see it as a large part of distribution.  Look at the music industry and how web has rewritten the music industry.  We currently are reviewing a contract for VOD.

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

No, I did this later in my life and found the right people to work with/hire.  Those people went to film school.

What are the other films you have made?

We shot a show called UnCorked- A Slightly Irreverent Look at Wine.  It was a blast, we wanted to poke fun at the stoic, pedantic wine snobs that most wine TV shows were at that point.  We did it with a great group of people who worked for dinner and wine and we were in two film festivals.  The problem was that when audiences heard it was about wine, they thought they couldn’t laugh.

What’s you motto?

One never knows what lies just over the horizon.   Sorry, I don’t really have a motto, I wanted to sound like I thought that out.  I try to tell my kids to do what’s right even if it’s not popular and remember to have fun since we don’t know when it will end.

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

We are excited to participate and look forward to venues that look to the ingenuity, the integrity, the hope and dreams of ordinary people who at any given time can do extraordinary things.  I selected the title for our project from a speech John F. Kennedy gave while running for the Presidency.  He was talking about our economy and said that  A Rising Tide Lifts All of the Boats.  When you think about it, it can relate to so many things.  I hope years from now we have other uplifting documentaries to enter into this festival.

What other festivals is your film appearing in?

We were in the Montclair Film Festival and living 2 miles from there it was great to have family and friends see our first real project.

We won honorable mention at the Accolades Competition.

We won Best Documentary at The Pocono Mountains Film Festival.

We currently are in or will be at:

Independents Film Festival Tampa Bay Fla

Wildwood By The Sea  in NJ

Orlando Hispanic Film Festival

Trade & Row

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

To let people see the unique deeds of the Healey Brothers. They were at the point in their lives where they could have walked away when things go tough, but instead fought for their workers and did the right thing in a crippling three year battle.

How much did it cost to make the film?

That keeps going up even today. But we have over $50,000.00 into it so far.

The Rising Tide will be playing at We the People: A Documentary Film Festival on Saturday, October 18th at Self Help Graphics in Los Angeles, CA.

For more info on We the People, visit:

http://www.tradeandrow.org/wethepeople/index.html

For more info on The Rising Tide, visit:

http://www.therisingtide.info/

Tell us about your film. Why should people see it?

Wolf at the Door chronicles the struggle of local artist, Jeff Filbert, and his fight to save his art studio and school from eminent domain demolition. I teach media studies at Rutgers University-Camden. Jeff does as well, and his studio is not far from campus. Jeff sees it as part of his mission to contribute to the community as an artist. He can’t understand how the local city council cannot see that having a community art school is a positive thing. Camden has a national reputation for poverty and crime. But Jeff, and many others like him, are trying to bring positive experiences to the residents. His fight is about reviving a community.My goal in creating the documentary short is creating awareness. The more people I can get to see the picture, the more they know about the issue and the many injustices of eminent domain. I see this film as my contribution to save Jeff Filbert’s art studio/school. As filmmaker’s, and humans, we have an important tool and ethical responsibility. When we can bring the tool and the responsibility to humanity together, we have something very powerful. It can educate, sway, and help effect change.

Robert A. Emmons Jr. 

What led you to make this film?

I first became aware of Jeff’s problem when he invited me to an open house and art protest at the studio. He invited his neighbors, those also under the threat of eminent domain, and the city council. Of course, no one from the council showed up, but the community came out. I decided to bring my camera along to see what I could capture. On that day, when I saw the contributions Jeff was making to the community and his flare for drama, I decided I would try to help bring this story to the attention of more people.

What impact do you hope this film will have?

It’s my hope that the film has some impact on saving the studio. I think it does, and I hope in watching the picture, one can see that. We’ve played it to many in the community and outside the community. Whenever it’s seen, people are always appalled about the eminent domain situation we have in the U.S.

 Wolf at the Door    

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

I just finished a feature documentary called Goodwill: The Flight of Emilio Carranza. It’s an amazing bit of New Jersey history. Known as “Mexico’s Charles Lindbergh”, aviator Emilio Carranza crashed and died in the New Jersey Pine Barrens on July 12, 1928, on the return leg of a goodwill trip between New York City and Mexico City – returning the favor of Charles Lindbergh’s famed nonstop flight to Mexico City the year before. The Pine Barrens of New Jersey, also known as the Pinelands are a heavily forested area covering over a million acres of coastal plain across central New Jersey. Hidden in the scrub pines near Sandy Ridge in the Pinelands is a quiet, lonely place missed by many. Rising from the ground stands a stone monument paid for by the children of Mexico, who saved their pesos to quarry stone from the state of Coahuila, the birthplace of their hero - on one weather-worn side you can still read his name - Emilio Carranza. Each year the American Legion Post 11 keeps Capt. Carranza’s memory alive with their lasting promise to honor the fallen hero.I’ve been having great success screening the film throughout the US. A highlight was screening it as part of a recent Smithsonian Exhibition called: Our Journeys/Our Stories: Portraits of Latino Achievement at the New Jersey Historical Society. Right now I am working on a new feature about the well known Jersey Central Railroad train, The Blue Comet.

What are your three favorite films?

Of course, this is an ever-evolving answer, but for today I will say, Errol Morris’ Fast, Cheap, & Out of Control, Jim Jarmusch’s Dead Man, and a recent film that just blew me away, was Tony Gilroy’s Michael Clayton. The photography, the pace, the acting, it was beautiful, subtle, it was sublime.

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

This is an incredibly exciting time for filmmakers. We are in a new democratic period of filmmaking. The art form has been liberated, anyone can be apart of this now. I remember at the end of the documentary Hearts of Darkness, Francis Coppola describes the future of filmmaking and the next great filmmaker as a little girl from Ohio with a video camera. Well, we are now in that time. Digital technology has democratized filmmaking! So my advice to aspiring filmmakers and people that want to make a film is to take your ideas and use what is now so cheaply available to you. We all know someone with a video camera and a computer. These are your tools. Look to the material that is closest to you, and try to find the most honest way of capturing that material to tell a story.

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

Most definitely! Continuing with digital technology as the democratization of filmmaking… We can all be our own distributors now. You Tube has been sent from the Heaven’s as a resource for filmmakers. We can all find an audience now. It’s exciting.

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

I did go to film school. It was a small school in New Jersey called Rowan University. What’s great is.. they still shoot film!! They also use digital video, but having both experiences is wonderful. What I did after that though, I recommend to many with the opportunity… I was trained in filmmaking as an undergrad, I wanted to make documentaries, and in an effort to prepare myself for that I went to graduate school for a Masters and Doctorate in cultural studies. That experience has been invaluable to me.

What are the other films you have made?

My films capture and tap into the local history and culture of New Jersey. Films include:Goodwill: The Flight of Emilio CarranzaOn Mt. PeaceYARDSALE!Smalltown, USASqueeze: A Small History of the AccordionEnthusiast: The 9th Art

Which filmmakers have most influenced your work?

This one is easy… My film heroes, and those that have the most influence on my work: Errol Morris, Werner Herzog, We Anderson, Michael Moore.

What’s you motto?

We are responsible to each other.

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

The political film festival is essential. It gives voices, and it creates dialogues. This is what it’s about. This is how we connect, educate, take care of each other. If we all look to the person next to us and say, “I am going to take care of you.”, we define humanity. That’s what a festival like We, the People does.

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?

I use a Canon XHA1 HDV camera. For this film, it was shot in HDV and reduced to SD for viewing.

How much did it cost to make the film?

The cost: Essentially nothing. Tapes. Once again: The democratization of filmmaking through digital technology. It’s a wonderful thing!

Wolf at the Door will be playing at We the People: A Documentary Film Festival on Saturday, October 18th at Self Help Graphics in Los Angeles, CA. 

For more info on We the People, visit:

http://www.tradeandrow.org/wethepeople/index.html  

We, the People: A Documentary Film Festival showcases films that intend to inform Americans about the economic and social issues that effect their fellow citizens at three venues in Los Angeles from October 16-18.   Who are we?  How do we come together? What do we, the people, stand for?  The festival hopes to start a dialogue with viewers about these questions through the films they present and discussions after screenings.

Thursday, October 16: Center for the Arts, Eagle Rock; Admission: $5

The first evening will showcase a series of documentaries offering intimate snapshots of social outcasts and misfits that inlcude residents of a secluded North Carolina island community, illegal alien college students living in Los Angeles, truckers’ realities on the road, and a politically progressive publisher in the middle of conservative Mormon Utah.

Lost Colony – directed by Lisa Bertini (2007)

A short documentary following a few days in the lives of residents of Crusoe Island, North Carolina, who are known for suspicion of outsiders and subsistence living along the Waccamaw River. Because of the centuries-old isolation, residents have a unique lifestyle and (nearly intelligible) dialect, similar to what you would find in the ‘hollers’ of mountains.

Without Papers – directed by Florencia Krochik/Gabriel Sanchez (2008)

This documentary chronicles the lives of two illegal aliens attending college in Los Angeles as they struggle to overcome their undocumented status.

Little America – directed by Jessie Kahnweiler/Brittany Johnston (2008)

A glimpse into the world of truck drivers. Often ignored within mainstream society this film offers a look at what it’s like to live your life behind the wheel.

Brave New West – directed by Doug Hawes-Davis (2008)

The American West has a new, albeit unlikely hero. “Old West” meets “New West” in the work of independent writer, publisher, artist, and activist Jim Stiles, whose independent paper boasts, “Hopelessly clinging to the past.”

Center for the Arts, Eagle Rock will host the festival’s first evening. The Center presents innovative and multicultural arts programming to the communities of Northeast Los Angeles, targeting nontraditional and under-served audiences, and providing access to excellent arts education for local youth and contemporary art experiences to all in the community.

For more information about Center for the Arts, Eagle Rock visit http://www.centerartseaglerock.org

Friday, October 17: Echo Park Film Center; Admission: $5

The three documentary shorts and two one-hour features for the second evening of the festival collectively look at broader issues of family dysfunction, economic struggles in small-town America, emerging activism concerning HIV/AIDS education and the left wing of the Christian movement.

Ubergangszeit – directed by Renee Patt (2008)

This documentary is a portrait of a man and his work, and how it has become his identity.

Misunderstood Child – directed by Delceta Barnfield (2007)

A teenage girl, Delceta, documents her dysfunctional family and crowded house with lots of responsibilities. She’s misunderstood.

Seen, But Not Heard – directed by Cyrille Phipps (2007)

Seen, But Not Heard is a short documentary that will explore the historical antecedents, current trends, and emerging activism concerning HIV/AIDS and women of African decent. Through raw and revealing personal accounts and comprehensive investigative journalism, Seen, But Not Heard seeks to challenge, inform, and inspire viewers to look past the daunting HIV/AIDS statistics - to see and hear the real stories of women of color whose lives are affected by HIV/AIDS.

Left Ahead – directed by Brooke Barnett (2008)

This documentary film tells the stories of three different Southern churches and the common faith that leads them in daring directions.

This American Gothic – directed by Sasha Waters Freyer (2008)

This American Gothic weaves together a cultural history of one of the most famous paintings in the world with a quirky portrait of Eldon, Iowa, population 998, site of the house that inspired it. The film follows local boosters over two years as they work towards their dream of a Gothic House Visitor Center to attract tourists and save their dying small town.

This evening’s screening will take place at Echo Park Film Center (EPFC), a volunteer-run, non-profit media arts organization located in the Echo Park neighborhood of Los Angeles. EPFC provides equal and affordable access to film/video education and resources.

For more information about Echo Park Film Center visit http://www.echoparkfilmcenter.org

Saturday, October 18: Self Help Graphics; Admission: $5

The final evening of films will showcase different levels of community activism – from individual, community and corporate perspectives. Whether picketing, petitioning or lobbying to Congress, the rallying effort within these films will be used as a springboard for discussion related to enabling Self Help Graphics’ sustainability in the community.

In addition, Trade&Row, in collaboration with The East LA Society of Film and Arts (http://www.telasofa.org), will feature film shorts on the theme What My Community Means to Me produced by filmmakers 13-19 years old who will be recognized for their contributions to the Annual Youth Film Festival Competition. The youth festival was produced in collaboration with Cinema Pobre, Spanish American Institute (SAI), Bienvenidos and International Humanities Center. 

Wolf at the Door – directed by Robert Emmons (2008)

Artist Jeff Filbert fights to save his Benson St. studio in Camden, NJ, from being demolished by eminent domain laws.

In Bed with a Mosquito – directed by Sarah Frank (2008)

In Bed with a Mosquito is an intimate portrait of activism and aging in New York City.

Free the River Park – directed by Tara Nurin (2008)

The People Will Prevail. This is a story of a community’s determination to rebuke belligerent big business, which proves to be no match against the power of the people.

Rising Tide – directed by George Valencia (2008)

Despite his promise of “No new taxes,” in 1990 President George H.W. Bush signed a budget package which included a new Luxury Tax. Among those impacted by the new tax were the employees of Viking Yachts in New Jersey. After the suicide of one of their employees, Viking’s owners, Bill and Bob Healey, mounted an aggressive campaign to repeal the Luxury Tax.

Self Help Graphics (SHG) is a nationally recognized center for Latino arts that develops and nurtures artists in printmaking. SHG seeks to advance Latino art broadly through programming, exhibitions and outreach to diverse audiences in East Los Angeles and beyond. SHG seeks to identify and engage young and emerging artists from the community in all aspects of its activities.

For more information about Self Help Graphics visit http://www.selfhelpgraphics.com

posted by Christopher Potter, FilmClick.com producer, http://www.filmclick.com/cspotter,  cpotter@filmclick.com