#l.a. rebellion films

[schlock-luster-video]

On November 12, 1976 Emma Mae premiered in Atlanta, Georgia.

Here's a new portrait of Jerri Hayes to celebrate!

[misterallsunday030]

Updated my old letterboxd list, enjoy

Black History Month Films that more people need to see [with links] https://boxd.it/4KvYU

[dizzymoods]

An absolutely devastating loss. One of my favorite actresses. Her work in Bushmama and Daughters were reasons I went to Howard

[directedbywomen]

Celebrating Julie Dash! "Thirty-one years ago, filmmaker Julie Dash broke through racial and gender boundaries with her Sundance award-winning film (Best Cinematography) Daughters of the Dust. 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 MFA senior thesis Illusions in the National Film Registry. These two films join a select group of American films preserved and protected as national treasures by the Librarian of Congress." Visit Dash's website for more information about her extensive and varied career.

Standing at the Scratch Line (2016)

"Standing at the Scratch Line is a short film about returning to sacred spaces of departure and arrival. Multi-media artist Julie Dash portrays the stories of a people seeking refuge and freedom in the African Methodist Episcopal Denomination."

Learn more about the project on The Great Migration website.

Give Me One Reason [music video] (1996)

Daughters of the Dust (1991) "Dash’s first feature — Daughters of the Dust (1991) — was the first film by an African American woman to receive a general theatrical release in the United States; the Library of Congress named it to the National Film Registry in 2004."

Learn more at UCLA Library Film & Television Archive.

"...Julie Dash’s vast yet intimate drama, set in 1902, about the preparations of an extended family on one of the Sea Islands, off the coast of Georgia, to migrate to the American mainland. It’s a movie that runs less than two hours and feels like three or four—not in sitting time but in substance, in historical scope and depth of emotion, in the number of characters it brings to life and the novelistic subtlety of the connections between them, in the profusion of its ideas and the cinematic imagination with which they’re realized, in the sensuous beauty of its images and sounds and the indelibly exalted gestures that it impresses on one’s memory.... The movie’s images have a luminous fullness, a decentered dynamism, and a dance-like flow that separate them from mere illustration and raise them to a visual music that matches the movie’s bold dramatic construction."

Read more in Richard Brody's The Return of Julie Dash’s Historic “Daughters of the Dust” in The New Yorker.

Learn more about the film in Dash's book Daughters of the Dust: The Making of an African American Woman's Film, "which includes Dash's complete screenplay, describes the story of her extraordinary sixteen-year struggle to complete the project."

Illusions (1982)

"In this thirty-four-minute featurette, from 1982, Julie Dash ingeniously revives classic-Hollywood themes and styles in order to subject them to a sharp historical critique.... Dash blends intimate portraiture with echoing reflections and multiple exposures, capturing Hollywood’s harrowing game of multiple hidden identities." Read more in Richard Brody's review in The New Yorker.

Four Women (1975)

"Pioneering, provocative and visionary, the L.A. Rebellion films form a crucial body of work in post-war cinema… Julie Dash's dazzling film is both a critical response to female stereotypes and one of the most brilliantly released films about dance."- George Clark, Tate Modern Learn more at Third World Newsreel.

Explore Dash's filmography on MUBI:

[leopoldainter]

Claire Danes bitch why won't you die!

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Maybe, how's the music

Hes fucking her in the washroom.

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John, your a drop out I found in a cage.

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Yeah you wish

Can someone please check to see if Dyson is dead or not.

I'll do it out of my next!

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Ladies and Gentlemen,

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DMV

ITSA REST VIKT DEVE LOPY

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Moral I thinkdan guns don't do much these days

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This is fucked, that's politics for ya

Nancy boy Inc. Let's go nana

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I'm filming!

Oh BTW where's stone henge

...

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I think the rule is, it's not funny if you have to explain it.

Dangrubbish from the getgo

Give them some money then they'll leave.

Sirens?

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.

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Fishing fire

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[lboogie1906]

Julie Ethel Dash (October 22, 1952) is a film director, writer, and producer. She received her MFA at the UCLA Film School and is one of the graduates and filmmakers known as the L.A. Rebellion. After she had written and directed several shorts, her 1991 feature Daughters of the Dust became the first full-length film directed by an African American woman to obtain a general theatrical release in the US.

Daughters of the Dust was named one of the most significant films of the last 30 years, by IndieWire.

She was born in Queens to Rhudine Henderson and Charles Edward Dash. She graduated from Jamaica High School and went on to receive a BA in film production from City Colleges of New York. She was raised in the Queensbridge Housing Project in Long Island City, Queens. She studied at the Studio Museum of Harlem. She wrote the script for a documentary for the New York Urban Coalition, entitled Working Models of Success.

After graduating from CCNY, she moved to Los Angeles for graduate studies. She completed a 2-year Conservatory Fellowship in Producing/Writing at AFI Conservatory. She became one of a new generation of African and African American filmmakers known as the “Black insurgents” or L.A. Rebellion.

She directed Working Models of Success (1976) and the next year, produced Four Women (1975). It won a gold medal for Women in Film at the 1978 Miami International Film Festival. She directed the film Diary of an African Nun (1977). Screened at the Los Angeles Film Exposition, it earned a Director’s Guild Award for a Student Film.

She has worked in television since the late 1990s. Her television movies include Funny Valentines (1999), Incognito (1999), Love Song (2000), and The Rosa Parks Story. The National Underground Railroad Freedom Center commissioned her to direct Brothers of the Borderland in 2004, as an immersive film exhibit narrated by Oprah Winfrey following the path of women gaining freedom on the Underground Railroad. She directed episodes of Queen Sugar.

At the 2019 Sundance Film Festival, it was announced her next project will be a biopic of civil rights icon Angela Davis. #africanhistory365 #africanexcellence #alphakappaalpha

[michaellockavitchblog]

The Overall Impact of the L.A. Rebellion Movement on Modern Cinema 

Blog by Michael Lockavitch  

May 7, 2024

Introduction  

What is the L.A Rebellion and what significance did it shape on the media landscape in the world? The L.A Rebellion was a term made by the film scholar Clyde Taylor, who plays a pivotal role in this movement in the history of Cinema that became a key figure from the University of California in the late 1960’s. During this time, the media world was not giving fair representation to African Americans and was showing unfair advantages to film in the movie industry. The LA Rebellion sparked change and the movement aimed to change how African Americans were shown in films, moving away from typical Hollywood stories and had a new style in the film making landscape. This new approach altered a new style of cinema and connected to the real-life experiences and challenges brought up in African Amercian Communities.  

Spirits of Rebellion: Black Cinema from UCLA documents the creative output of black filmmakers at UCLA’s School of Theater, Film and Television. Photo courtesy of NYADIFF. 

Below is a picture and Interview with Clyde Taylor, a key figure in the movement. 

Historical Context 

Looking into the History and the importance of this crucial time in the media world comes from the late 1960’s, a significant time marked by the Watts uprising and highlighted key points of civil rights activism. UCLA’s School of Theater, film and television became a key turning point to change through its Ethno-Communications Initiative. This key moment launched responses to greater demands of inclusivity, aimed to correct the underrepresentation of students of color in the film industry. This key movement was done under the Communications program at UCLA to start the LA Rebellion and spark change in the world. This movement grew attracting African American students to show and highlight the true realties of living In America. “During this Period, the seeds of what would be known as the L.A Rebellion were planted a term later defined by Clyde Taylor” (Pbs Video) The students in this movement took changes going away from typical Hollywood natives and highlighted themes that could be shown in their communities to portray theme that show true meaning and stories. Key Themes that could be shown in this movement included, social justice, community and resistance. As the Movement grew the filmmakers from the initial spark starting at UCLA inspired others to highlight social issues that could have included, poverty, racism and civil rights. These issues were not shown by the media, and it was underrepresenting communities to tell true and real stories. The Impact was significant and layed the future movements to push for change in films.  

Exploring the L.A. Rebellion Through the Eyes of Charles Burnett 

Charles Burnet was another key figure in the L.A Rebellion and had a key impact on independent film making, through portraying African Amercian experience. Burnett approach to cinema was deeply connected and influenced by his time at UCLA a place he credits for his unique educational philosophy a key quote from the article stated, “ UCLA was a special place because the instructors made you create; they gave you a camera and said, “Go out and make film, don't come back with something we’ve seen before” (UCLA NEWSROOM) https://youtu.be/XtpbPKOnt6U?si=Svo9DnZcTGyrRbY6 Attached below show 2 graphics showing a poster for the film, and a YouTube trailer showing the film.  

Burnett’s graduate thesis film titled; “Killer of Sheep” explored the lives of urban African Americans in the Watts neighborhood. This film showed change and a different method than typical Hollywood portrayals on the environments. The film remains a vital example of the L.A Rebellion’s influence, “ Characterized by its authentic depiction of Black life and its rejection of imposed values” (UCLA NEWSROOM) This movement, name by film scholar Clyde Taylor, saw film makers like Burnett, Julie Dash, and Halie Gerima using cinema as a tool for social change, responding to the Civil Rights movement and broad societal issues. The importance of the movement was crucial to the media world and being able to listen to it through Burnetts thoughts and this interview highlight the importance of UCLA and the impact of the program, Burnett talked about a time when few people of color where in the program stating, “It was more organic. UCLA had very few people of color in the 60’s and 70’s There was this notion that you were there to make films as a means for social change because we all shared in being part of a larger cause- The Civil rights movement” (UCLA Newsroom) Beyond Burnets films that showed the African Amercian Experience, other projects could include, documentaries and TV projects like, “Selma, Lord Selma which has a rating of 7.1 the episode I picked was aired on Jan, 17, 1999 with 1 hour and 34 mins run time and has the description as, “ n 1965 Alabama, an 11 year old girl (Jurnee Smollett) is touched by a speech by Martin Luther King, Jr. (Clifton Powell) and becomes a devout follower. But her resolution is tested when she joins others in the famed march from Selma to Montgomery” (IMDb) The other film done by Burnett is, “NightJohn” rated a 6.8 on IMDb directed by Burnett the film was released in 1996 has the movie description as, “ Facing a life of servitude in the Antebellum South, a young slave named Sarny meets NightJohn. He teaches her to read and write, and together they set to free other slaves - until one planned escape is discovered” (IMDb) Burnetts films and contributions have been recognized with four Independent Spirt Awards for “ To Sheep with Anger” and inclusion in the national film Registry by the Library of Congress” (UCLA NEWSROOM) At 75 years old he is still passionate for filmmaking and is still planning movies with the plan of, “Directing a biopic about Robert Smalls, a former slave who made an escape during the civil war. Burnetts' career offers a unique perspective on the L.A Rebellion showing the true importance of its impact not just in film but its impact on culture and society. “Him and his peers’ work has significantly influenced how African Amercian stories are presented and perceived leaving a lasting mark on the film industry” (UCLA NEWSROOM) 

Key Themes of the L.A. Rebellion  

The L.A Rebellion movement highlighted a variety of themes a deeply explored themes that were very different from the usual portrayal of African Americans in mainstream Hollywood Movies. The First theme that is highlighted in this movement includes, “Social Realism and Community” The L.A Rebellion filmmakers focused heavily on social realism, bringing to the screen the everyday realties of African Amercian Communities. “Films like Charles Burnett’s Killer of Sheep and Billy Woodberry's Bless Their Little Hearts offered unflinchingly honest portrayals of the economic hardships and the resilience within these communities”  

Cultural Identity and Resistance: The movement also showed themes of cultural identity and heritage, exploring how these specific elements shape individuals and collective experiences. “Julie Dash’s Daughters of the Dust is particularly notable for its lyrical storytelling and emphasis on cultural heritage, which highlights the importance of remembering and honoring Ones's routes” (Filmmaking lifestyle)  

Challenging Stereotypes: The L.A Rebellion filmmakers utilized unique storytelling methods and challenged the typical and negative portrayal of African Americans in mainstream movies. The goals of the writers were to change to narrative and flip the script to provide a well thought out true view of African Amercian life through their own stories and communities.  

Empowerment Through Film: The impact of the L.A Rebellion was more than just a film movement. It changed how we look at movies today and the complete impact of Hollywood and how we look at life today. This movement, “was a form of cultural and intellectual resistance. Filmmakers used their work to challenge social norms and empower viewers, offering complex stories and characters often ignored by mainstream Hollywood, thereby reshaping film's role in Society” (Crawford)  

The L.A Rebellion movement redefined the portrayal of African Americans in film by emphasizing realism through, cultural identity, and resistance against stereotypical narratives. The filmmakers of the Rebellion challenged Hollywood’s usual ways and aimed to inspire the audience by telling a more realistic and detailed story. The movement changed and played a heavy impact in the shape of modern cinema, encouraging filmmakers today to use their movies as a way to drive social change and express their ideas to represent their cultures and ideas.  

The picture Below shows an Image from the film Daughters of the Dust (Julie Dash)  

The next picture represents the film, “To Sleep with Anger” written and directed by Charles Burnett in 2017. The film shows a Southern Family in LA as they deal with the problems of an old friend’s visit. The film explores the issues of culture and personal conflict.   

Modern Cinema and the Legacy of the L.A. Rebellion to Break Cinema Barriers  

The L.A Rebellion filmmakers revolutionized cinema by rejecting Hollywood narratives, creating films that connected deeply with their communities. Many films have followed the L.A Rebellion’s lead by challenging Hollywood standards and showcasing diverse stories and perspectives. The push against Hollywood and their traditional norms has helped shape how we see modern cinema today. Now let’s explore how the legacy of the L.A Rebellion continues to inspire filmmakers to break barriers in the film industry. The films I wanted to talk about show important movies that went against Hollywood and are facing censorship paving the way for the movie industry.  

“Ecstasy” (1933) This film broke barriers as the first film to show a female orgasm onscreen, “challenging American censors and altering perceptions of sexuality in film. Its controversy underscored the power of film to confront societal taboos (Robert Vaux, 2022)  

“Glen 1953” Directed by Ed wood the film was one of the first to discuss transgender issues in the United States, navigating around the restrictive Hays Code to reach audiences and sparking conversations about gender identity (Vaux, 2022)  

“Psycho” by Alfred Hitchcock is a key film that challenged old censorship rules. The movie's famous shower scene, with its intense violence and suggested nudity changed how stories are told in movies. In Hitchcock's movies he utilized quick cuts and close up shots to suggest violence without showing it directly. His filmmaking techniques were very groundbreaking but got the film approved by censors but set the stage for the future slasher genre. (Gadre, Dollar, 2023)  

“Get Out” directed by Jordan Peele, revolutionized the horror genre by intertwining racial themes with traditional horror elements, challenging the industry's narrative boundaries” (Saghafi, 2021) The film had great success and became the third highest grossing R rated horror movie ever, demonstrated by massive audience interest and a horror film that includes social issues. By using horror as a lens to explore the real and current fears associated with the African Amercian experience, Peele set a new standard for storytelling that goes beyond simple scares (Sagafi, 2021) Get out changed the game for the horror genre, “but also for original filmmaking, influencing a new wave of filmmakers to embrace social commentary within mainstream cinema” (Sagafi, 2021)  

Black Mirror Bandersnatch: The film was a groundbreaking success for an interactive film that let the viewer pick what they want and how the movie plays out. An important quote from Shiyu wang quotes, “"After the film was launched, it soon became well-known for its complex narrative structure and impressive interactivity" (Black Mirror Case Study, 2019, p. 1). The Netflix interactive film changed how movies can be created and since this film released the Tv series Kaleidoscope in 2023 following a group of bank robbers. The series has 8 episodes showing 24 years before the heist to 6 months after. You can watch the episodes in any order but white needs to be the last episode. Interactive films and Tv shows like “Bandersnatch” and “Kaleidoscope” revolutionize storytelling by giving the viewer the power to shape the narrative, reflecting the L.A Rebellions impact on film by challenging traditional rules and giving the power to the audience 

Conclusion 

As we wrap up our journey through the groundbreaking impact of the L.A Rebellion on modern cinema, it’s clear that this movement was more than just a shift in filmmaking it was a cultural awakening for everyone to open their eyes and see the big picture in cinema. Charles Burnett and Clyde Taylor played crucial impacts on the L.A Rebellion challenging traditional Hollywood narratives and pushed for films that reflected their real-life experiences and struggles of African Amercian Communities. This movement was not just about making movies; it was about telling truthful stories that resonated with audiences and inspired filmmakers to explore new perceptive. Through Burnet, Taylor, and their peers didn’t just change cinema they empowered viewers and gave them a voice on how the future generations’ stories could be told. Their legacy shows us the true strength of movies to bring change, teaching us that cinema can do more than entertain, it has the power to open our eyes and inspire us.  

Bibliography 

Aggie, T. C. (2017, April 25). The cultural phenomenon of Get Out. The Aggie. https://theaggie.org/2017/04/25/the-cultural-phenomenon-of-get-out/ 

Crawford, M. (2022, February 8). What is La Rebellion Film Movement? The Essential Guide. Filmmaking Lifestyle. https://filmlifestyle.com/what-is-la-rebellion-film-movement/ 

Dollar, S. (2018). Psycho’s shower scene: How Hitchcock upped the terror-and fooled the censors. History.com. https://www.history.com/news/psycho-shower-scene-hitchcock-tricks-fooled-censors 

Gadre, S. (2023, August 23). The psycho controversy explained. SlashFilm. https://www.slashfilm.com/712456/the-psycho-controversy-explained/ 

Vaux, R. (2022, January 24). 8 groundbreaking films & TV shows that challenged censors to change Hollywood. CBR. https://www.cbr.com/films-tv-shows-changed-hollywood-challenged-censors/ 

Hueso, N. (2020, February 10). Looking back on the L.A. rebellion with alumnus Charles Burnett. UCLA. https://newsroom.ucla.edu/stories/looking-back-on-the-l-a-rebellion-with-alumnus-charles-burnett 

Library, U. (2011). The story of L.A. rebellion: UCLA film & television archive. The Story of L.A. Rebellion | UCLA Film & Television Archive. https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion 

PBS, P. (2023, October 18). Artbound. https://www.pbs.org/video/la-rebellion-a-cinematic-movement-klxwoq/ 

Press, U. of C. (1970, January 1). L.A. Rebellion : Creating a new Black Cinema. Internet Archive. https://archive.org/details/larebellioncreat0000unse 

[gone2soon-rip]

'BARBARA O.' aka BARBARA O JONES (1941-Died April 16th 2024,at 82). American actress from Ohio[1] best known for her work in the films of the L.A. Rebellion movement of 1970s black filmmakers, starring in films by Haile Gerima and Julie Dash.[2] She also appeared on television alongside Muhammad Ali in Freedom Road and had smaller roles in other films including Demon Seed and on television.Barbara O. Jones - Wikipedia

[schlock-luster-video]

On November 5, 1981, Penitentiary debuted in Mexico.

[denimbex1986]

'Not sure if you’ve noticed, but it’s hot out there.

So hot that I actually took a peek at this great guide my Times colleagues put together titled: “Cool off in 14 of L.A.’s hottest pools with day passes.” Which, back in the day, I used to do all the time, except then a “day pass” consisted of waiting for a hotel guest to leave the pool area and then slipping in the gate. Or hopping the fence when no one was around. But, admittedly, that was a long time ago, all the way back in nineteen-dickety-two. We had to say “dickety” ’cause the Kaiser had stolen our word “twenty.” I chased that rascal to get it back, but gave up after dickety-six miles ...

I’m Abe Simpson ... er, Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope’s Friday newsletter. Pull up a chair, turn on the misting fan and let’s see what’s happening this week.

‘Barbenheimer’ the sequel set for the weekend

One way to cool off would be to head to the movies, sit in an air-conditioned theater and check out “Barbie” and “Oppenheimer” for the first time, or maybe the third time. They’re pretty addictive. And it’s so freakin’ hot outside that you might not even mind the 30-minute barrage of commercials and trailers before the movie starts. Bonus time in a cool, dark place. What’s not to like?

My colleague Brian Contreras writes that both movies are expected to continue doing robust business — as they have during the week. So, go, get into the spirit and put on some pink or don an exaggerated porkpie hat. You won’t be alone in your enthusiasm.

Ken’s ‘sweet kind of rebellion’ in ‘Barbie’

That’s how my pal Mark Olsen described Ken’s journey in Greta Gerwig’s “Barbie,” as he discovers this thing called the patriarchy — and that he loves it — and then brings those ideas back to Barbie Land to rechristen it his “Ken-dom,” refashioning Barbie’s dream house into his “mojo dojo casa house.”

Of course, he does all this simply because he just wants Barbie to notice him.

Mark spoke with Ryan Gosling, who plays the movie’s main Ken, and Greta Gerwig, who directed and co-wrote “Barbie,” not too long ago about the movie, their collaboration and, yes, Gosling’s uproariously straight-faced performance of the 1997 Matchbox 20 song “Push,” which, as Mark writes, gets to the “emotional manipulation underneath the song’s lyrics.”

“When you put on Greta Gerwig glasses, you start to see,” Gosling says. “I heard that song my whole life, but I had never heard that song really until she pointed it out.” (I was always more partial to “3AM.”)

Christopher Nolan goes deep on ‘Oppenheimer’

Meanwhile, my old friend Kenny Turan sat down with Christopher Nolan, enjoying — what else? — freshly brewed cups of Earl Grey and some good conversation about Nolan’s extraordinary new movie, “Oppenheimer,” an absorbing look at J. Robert Oppenheimer, the “father of the atomic bomb.”

“More than anything,” Kenny writes, “Nolan is intent on honoring his subject’s often contradictory impulses, neither fleeing from nor fudging the ruinous difficulties he got himself into, in the scientific arena and in personal and political matters as well.”

“We don’t want to judge him, we want to be him, we want to be swept up in his life, to see the world through his eyes,” Nolan says. “In film we don’t often get the opportunity to drill down on these particular moments. Do we know exactly why we do things? Oppenheimer was an extreme form of what we all do.”

Me ... I’m drinking margaritas from a blender right now ... and I know exactly why I’m doing it. It’s scorching out there! See you next week.'

[razxdigital-year2-semestersb]

Julie Dash -  Redefine how African-American women are seen on the screen

Julie Dash is a filmmaker known for her ground-breaking work in breaking racial and gender boundaries in cinema. In 1991, she made history as the first African American woman to receive a wide theatrical release of her feature film, Daughters of the Dust. The film went on to receive the Best Cinematography award at the Sundance Film Festival, and both Daughters of the Dust and her UCLA MFA senior thesis Illusions were placed in the National Film Registry by the Library of Congress, joining a select group of American films preserved and protected as national treasures. Inspired by her award-winning film, Julie Dash penned a rich and magical new novel set in the 1920s in the Sea Islands off the Carolina coast. Daughters of the Dust tells the story of a family of complex and independent African American women, the Peazants, who trace their origins to the Ibo people enslaved and brought to the islands more than a hundred years before. The Gullah people have preserved much of their African heritage and language on these islands, providing a unique backdrop for the novel's events. Daughters of the Dust is a fictionalized telling of Dash's father's Gullah family who lived off the coast of the South-eastern United States. The film features black women's stories, striking visuals shot on location, and a non-linear narrative.

Dash was born on October 22, 1952, in Queens, New York, to Rhudine Henderson and Charles Edward Dash. She graduated from Jamaica High School and went on to receive a B.A. in film production from the City College of New York in 1974. She was raised in the Queensbridge Housing Project in Long Island City, Queens, and studied in 1969 at the Studio Museum of Harlem. During film school, Dash was influenced by avant-garde, Latin American, African, and Russian cinema. Her film work began to take on a new direction after film school. Inspired by the works of Toni Morrison, Toni Cade Bambara, and Alice Walker, she stopped making documentaries and started directing dramatic films. Dash's 1975 short film, Four Women, is based on the ballad “Four Women” by Nina Simone. The film portrays four women overcoming racial and gender-specific forms of oppression.

 Dash began making films around the time of the L.A. Rebellion at UCLA, a period that trained many young black filmmakers with their own aesthetic visions. They were all determined to reimagine the media production process while sharing authentically black stories that could serve both as entertainment and education. Dash's work showcased the lives of black women and the struggles unique to them, and she aimed to say things that needed to be said in a different way. Her personal mission statement was to redefine how African-American women are seen on the screen.

HR - ( Anon, (n.d.). Julie Dash – Director/Writer/Producer. [online] Available at: https://juliedash.com/)

HR - ( The HistoryMakers. (n.d.). Julie Dash’s Biography. [online] Available at: https://www.thehistorymakers.org/biography/julie-dash-41)

HR - ( Ebiri, B. (2016). The ‘Daughter’ Returns: Julie Dash Speaks About Her Triumphant Revival — And Where She’s Been. [online] The Village Voice. Available at: https://www.villagevoice.com/2016/11/17/the-daughter-returns-julie-dash-speaks-about-her-triumphant-revival-and-where-shes-been/)

[thesibfiles]

Courtney going on tour right after?

Theres a misconception that after Kurts death, Courtney went straight on tour right away. This is false. The album was already set to release a few days after and they couldnt change that on such a short notice. Promotion for the album was cancelled and she pushed back the tour 4 months.

“Live Through This was supposed to provide Love an opportunity to step out from her famous husband’s shadow. “It’s annoying now, and it’s been annoying for nine years, Love said in a 1999 Jane Magazine interview of always being connected to Cobain. Released four days after Cobain’s body was found, the album’s promotion was put on hold. Rather than retreat from the public eye, Love openly mourned and helped fans of Cobain and Nirvana make sense of the singer’s death. She sat with grieving teenagers gathered outside the couple’s Seattle home and recorded a reading of parts of his suicide note that was played at the singer’s memorial that gathered near the Space Needle. In the days following his death, Love showed a very raw and emotional side and admitted that, like many fans, she didn’t have all the answers. 

It was, and still is, impossible for people to discuss Live Through This without noting the irony of the album’s title. Love has said the name was not a prediction at all, but instead a reflection of all she had endured in the months leading up to its release, including a very public custody fight with the Los Angeles Department of Family Services over daughter Frances Bean. Rumors suggested that Cobain had written much of Live Through This (it’s Miss World, not Mister, just FYI). “I’d be proud as hell to say that he wrote something on it, but I wouldn’t let him. It was too Yoko for me. It’s like, ‘No fucking way, man! I’ve got a good band, I don’t fucking need your help,’” was Love’s response to critics in Spin’s oral history of Live Through This. Love and Cobain often shared notebooks and lyrics with each other, and while there is talk of Cobain’s influence on Love’s work, or the writing of all of it, less is mentioned in the press of her impact on his lyrics and music. Rather than sucking all the life out of Nirvana or threatening the success of the band, like many assumed she would do, she inspired Cobain. Fun fact: In Utero, Nirvana’s last album, was named after a line from one of Love’s poems.

Sadly, songwriting rumors would be replaced by other rumors. Women are often vilified and condemned for the deaths of their male partners. Love, like all women, was supposed to save her partner from death and addiction. Fans of Cobain projected all their anger and resentment over the loss of the Nirvana front man onto Love, and soon she was blamed for not only his addiction but also his death. There are even two movies devoted to the theory that Courtney killed Kurt: the awful Soaked in Bleach (2015) and the equally awful Kurt & Courtney (1998). If you think we’ve come a long way, baby, sadly we haven’t. 

One year after Anthony Bourdain’s death, Asia Argento is still being blamed, and in September 2018, Ariana Grande had to take a break from social media after fans blamed her for the death of her ex Mac Miller. A few months later, she would be blamed for new beau Pete Davidson’s mental health and addiction issues. It’s amazing she finds the time to write hit songs what with all the dude destruction she has going on. When women are not being blamed for the deaths of the men in their lives, they are being attacked for not grieving properly. “She wasn’t crying. She’s got $30 million coming to her. Do you blame her for being so cool?” a hospital staffer said of Yoko Ono following John Lennon’s murder in 1980. 

About four months after Cobain’s death, Love went on tour to promote her new album. Some questioned and judged why she would go on tour so soon, but Love has said it was a necessity. She had a young daughter to support. She needed to work. She also, sadly, still needed to prove herself. “I would like to think that I’m not getting the sympathy vote, and the only way to do that is to prove that what I’ve got is real,” Love told Rolling Stone in 1994.

Twenty-five years later, Cobain’s death still hangs over Live Through This. In the days leading up to the anniversary of Cobain’s death, former Hole bassist Melissa Auf der Maur wrote an open letter to music magazine Kerrang saying she “would not stand for Kurt’s death overshadowing the life and work of the women he left behind this year.”

“We were extremely well designed for each other,” Love has said of her relationship with Cobain. In a letter reprinted in Dirty Blonde: The Diaries of Courtney Love, she calls him “my everything. the top half on my fraction.” The two had similar upbringings, both came from broken homes and spent childhoods shuttling between relatives and friends. They both grew up longing for love and acceptance. When we tell the story of Kurt and Courtney we talk about drugs and destruction, but we don’t talk enough about love.

The two also shared an intense drive and ambition. “I didn’t want to marry a rock star, I wanted to be one,” Love said in a 1992 Sassy interview. Evidence of her drive can be found in the many notes and to-do lists she kept, some of which are collected in Dirty Blonde. There are reminders to send her acting résumé to agencies, to write three to four new songs a week, to “achieve L.A. visibility.” A scene in the documentary Kurt & Courtney features an ex of Love’s reading from one of her to-do lists, which has “become friends with Michael Stipe” as the number one task to complete (not only did Love do this, but he is her daughter’s godfather). This ambition is not surprising from a woman who, when she was younger, mailed a tape of herself singing to Neil Sedaka in hopes of getting signed. Love knew what she wanted at an early age, and what she wanted was fame.

She was certainly living by the “do not hurt yourself, destroy yourself, mangle yourself to get the football captain. Be the football captain!” motto she championed in the 1995 documentary Not Bad for a Girl. Ambition is often a dirty word when it is used to describe women and Love is no exception. She has been repeatedly described as calculating and controlling when she should be rewarded for her blond ambition and viewed as an inspiration. Critics and the press often call her a gold digger who only married Cobain for fame and money. They fail to mention that when the two met Pretty on the Inside was actually selling more copies than Bleach, Nirvana’s debut album. Even post-Kurt, Love’s intentions were always under scrutiny. On the Today Show to do press for The People vs. Larry Flynt, Love refused to talk about her past drug use, despite the host’s repeated questions, saying the topic was not an appropriate fit for the show’s demographic. She was right, but it didn’t stop a writer from describing the move as “calculating” in a 1998 Spin piece.

Cobain was ambitious too; he was just much slyer and more secretive about it. He was known to call his manager and complain when MTV didn’t play Nirvana’s videos enough, and he would correct journalists who misquoted the band’s sales figures in interviews. While success is typically celebrated and rewarded for men and it certainly was for Cobain, he also had to be mindful of the slacker generation that loved Nirvana and greeted success — and especially mainstream success —

While female celebrities like Love are criticized for their rebellion, male celebrities, like Cobain for example, are celebrated and mythologized for it. Cobain and Love both struggled with addiction, but it is Love who is repeatedly vilified for her drug use. “She was vilified for being a mess, for being a drug addict, for not being a great parent — in other words, all of the things we expect in a male rock star,” said Bust magazine in a piece in the magazine’s 20th anniversary issue, which featured Love on the cover.

We make jokes about the drug antics of male celebrities from Keith Richards to Charlie Sheen, idolizing their debauchery and depravity. The new Netflix/Lifetime movie by Jack Daniels, The Dirt, about Mötley Crüe, takes the band’s excesses to almost comic levels. Check out crazy tourmate Ozzy Osbourne snorting a line of ants by a hotel pool! Such zany antics! I would love to see Lindsay Lohan try to get away with that. We never allow women to live down their arrests and their addictions, but we repeatedly allow men to have a redemption arc. Robert Downey Jr. was in and out of jail and on and off drugs for much of the mid to late ’90s, but we rarely, if ever, talk about his past.

When Love isn’t being attacked for her addiction issues, she is being judged for her parenting. Love’s first unflattering press was “Strange Love,” the much publicized 1992 Vanity Fair profile by Lynn Hirschberg. While the piece talks at length about Love’s drug use and constantly questions her parenting ability, it doesn’t paint Cobain in the same light. “It is appalling to think that she would be taking drugs when she knew she was pregnant,” says one close friend in the piece. Hirschberg relies on many unnamed sources and focuses often on the tabloid-like aspects of Love’s life and addictions. “Courtney has a long history with drugs. She loves Percodans (‘They make me vacuum’), and has dabbled with heroin off and on since she was eighteen, once even snorting it in Room 101 of the Chelsea Hotel, where Nancy Spungen died,” she writes. “Reportedly, Kurt didn’t do much more than drink until he met Courtney.” (Even when it is reported by Kurt and Krist that Kurt tried heroin in 1989, way before Courtney, It was also known that he smoked weed and used caugh syrup to get high in 1989 and 1990.)

This double standard was common in coverage of the couple. In Kurt Cobain: Montage of Heck, the 2015 documentary by Brett Morgen, Love asks her husband, “Why does everyone think you’re the good one and I’m the bad one?” Later in the film we see a scene of Frances Bean’s first haircut. The child sits on Cobain’s lap while Love searches for a comb and scissors. The camera shows Cobain nodding off, and while he maintains that he is just tired, it’s clear he’s not. The scene is painful to watch, especially because those around Cobain carry on like nothing in wrong, giving the feeling this is just like any other day in the Love-Cobain household. The scene is a reminder of how the press treated Cobain’s addiction when he was alive. They just carried on like nothing was wrong, instead directing all their judgement at Love.

[tcm]

The Golden Boy, John Garfield By Susan King

Stanley Kowalski in Tennessee Williams’ A Streetcar Named Desire was Marlon Brando’s signature role. It made the then 23-year-old Brando an overnight Broadway sensation in 1947, and he electrified movie audiences and earned his first Oscar nomination for the classic 1951 film version. But he wasn’t the first choice to play Blanche’s earthy brother-in-law. Producer Irene Selznick had her eyes on Hollywood star John Garfield, who frequently took time out from movies to return to the Great White Way for limited runs.

In fact, writer John Lahr reported in 2014 that on July 19, 1947, Selznick drew up a contract for the 34-year-old actor, “one of the few sexy Hollywood stars with a proletarian pedigree. The Selznick office leaked the big news to the press. The contract was never signed. On August 18 the deal with Garfield collapsed.”

One of the reasons bandied about was that Garfield turned down the role because the contract would have kept him away from Hollywood for too long. Though Brando is considered the performer who ushered in the more naturalistic style of acting (known as “the Method”) both on stage and in film, truth be told it was Garfield who was the catalyst for Brando, as well as Montgomery Clift, Paul Newman, James Dean and Steve McQueen.

Just look at Garfield’s first feature film, FOUR DAUGHTERS (’38). Directed by Michael Curtiz, the cast includes Lane sisters Lola, Rosemary and Priscilla, in addition to Gale Page as the four musically inclined daughters of a widower music professor (Claude Rains). Enter handsome boy-next-door Jeffrey Lynn as a budding composer named Felix who endears himself with all the daughters, especially peppy Ann (Priscilla Lane).

The household is put in an uproar with the arrival of Garfield’s Mickey Borden, the original rebel anti-hero. Unkempt, slovenly and possessing a massive chip on his shoulder, Mickey is an orchestrator who has arrived at the house to work with Felix. You can’t keep your eyes off him especially in this early monologue where he explains his anger to Ann:

“They’ve been at me now nearly a quarter of a century. No let-up. First, they said, ‘Let him do without parents. He’ll get along.’ Then they decided, ‘He doesn’t need education. That’s for sissies.’ Then right at the beginning, they tossed a coin, ‘Heads he’s poor, tail’s he’s rich.’ So, they tossed a coin…with two heads. Then for the finale, they got together on talent. ‘Sure, they said, let him have talent. Not enough to let him do anything on this own, anything good or great Just enough to let him help people. It’s all he deserves.’”

There was a sexuality and eroticism to Garfield’s performance that was 180 degrees different from Lynn’s durable and safe leading man. He was so natural; it was almost like someone found Garfield walking down the street in the Bronx and asked him to star in the movie. “He was the prototypical Depression rebellion youth,” actor Norman Lloyd told me about Garfield for the L.A. Times in 2003. They first met in 1937 and worked together on Garfield’s final film HE RAN ALL THE WAY (’51).

“He combined all of these elements of darkness and rebelliousness with the charm and the poignancy and he became the prototypical actor of that time. He never changed as a person. He remained just as a wonderful guy. He was a man of great charm, a good fellow, very likable.”

There was a lot of Mickey in Garfield, who was born Jacob Julius Garfinkle in 1913 on the Lower East Side of New York to poor Russian immigrants. Julie, as he was called, had a rough and tumble upbringing. His mother died when he was seven. “He hated his father,” his daughter Julie Garfield noted in 2003. “His father was awful to him. He was torn away from his brother.” In fact, Garfield once said that if he hadn’t become an actor, he would have been “Public Enemy No. 1.”

Unlike Mickey, the fates and destiny were looking after him. First, it was educator Angelo Patri, who became a surrogate dad to Julie at P.S. 45, a high school for troubled students. With Patri’s encouragement, he joined the debate team where he discovered he had a gift for acting. That was further nurtured when he received a scholarship to Maria Ouspenskaya’s acting school. He was all of 18 when he made his Broadway debut in 1932 in Lost Boy and became the youngest member of the progressive and influential Group Theatre, appearing in Clifford Odets’ early masterpieces Waiting for Lefty and Awake and Sing. 

Odets wrote the play Golden Boy for Garfield in 1937, but director Harold Clurman decided to give the lead role of boxer Joe Bonaparte to Luther Adler and cast Garfield in a minor role. His unhappiness with Clurman’s decision pushed Garfield into signing a contract with Warner Bros. And FOUR DAUGHTERS made him an overnight sensation. He earned a Supporting Actor Oscar nomination, but lost to Walter Brennan who picked up his second Academy Award in that category for Kentucky (‘38).

The following year, Garfield, Rains, the Lane siblings, Page and Curtiz reunited for DAUGHTERS COURAGEOUS, in which the actors played different characters from the prior film. It was probably the best film Garfield made that year. But Warner Brothers put him in a lot of movies that were unworthy of his talent including BLACKWELL’S ISLAND (’39) where he was typecast as a gangster. He made some good movies in 1941, including THE SEA WOLF, which also starred Edward G. Robinson and Ida Lupino and reunited him with Curtiz, and also Anatole Litvak’s atmospheric noir OUT OF THE FOG also with Lupino.

Because he suffered heart damage from scarlet fever, Garfield couldn’t serve during World War II. But he entertained the troops on USO tours and opened the famous Hollywood Canteen with Bette Davis so the troops could be entertained and be served by some of Hollywood’s biggest stars. Both Davis and Garfield appeared as themselves in the hit 1944 film HOLLYWOOD CANTEEN. Garfield also fought the global conflict on screen, giving one of his strongest and grittiest performances in PRIDE OF THE MARINES (’45), a poignant drama based on the life Al Schmid who was blinded by a grenade during the Battle of Guadalcanal. He returns home to his wife (Eleanor Powell) a bitter, doubting man who has a difficult time trying to deal with his new life.

The year 1946 saw the release of two of Garfield’s most enjoyable films HUMORESQUE and THE POSTMAN ALWAYS RINGS TWICE. HUMORESQUE was his last film under his Warner Bros. contract. It’s a delicious melodramatic wallow with Garfield playing a poor New York kid who becomes a famous concert violinist. Joan Crawford, coming off her Oscar-winning triumph in Mildred Pierce (’45), plays a wealthy patroness who sets her sights on Garfield. Garfield went to MGM for POSTMAN, which was based on James M. Cain’s best-selling thriller. Garfield turns up the heat with Lana Turner as illicit lovers who brutally murder her husband only to turn on each other when they are caught.

The actor teamed up with Bob Roberts to form an independent production company, Enterprise Productions, and their first feature was the boxing classic BODY AND SOUL (’47), for which he earned his second Oscar nomination as Charley Davis, a boxer who loses his way when he gets involved with an unscrupulous promoter. Not only does he have a strong chemistry with leading lady Lilli Palmer, but also African American actor Canada Lee as Ben, a boxer with brain damage. And Garfield gets to utter one of his greatest lines in BODY AND SOUL: “What are you going to do? Kill me? Everybody dies.”

Though his next Enterprise production wasn’t a hit, FORCE OF EVIL (’48), co-written and directed by Abraham Polonsky, is a terrific film noir with a hard-hitting Garfield as a corrupt attorney trying to save his numbers-racket brother (Thomas Gomez) from his gangster boss. Garfield returned to Warner Bros. and Curtiz in 1950 for THE BREAKING POINT, which was based on Hemingway’s 1937 novel, To Have and Have Not. It’s an outstanding film noir with a superb performance from Garfield as well as from Black actor Juano Hernandez who plays his partner on the fishing boat.

THE BREAKING POINT was Garfield’s penultimate film and was not a hit because The Blacklist was engulfing Hollywood and the actor, despite the fact he wasn’t a Communist. His film career was over in 1951 when he refused to cooperate with HUAC at his hearing. Before his death of a heart attack in 1952 at the age of 39, Garfield did appear in a short-lived Broadway revival of Golden Boy, which also starred Lee J. Cobb, a young Jack Klugman and Joseph Wiseman.

Though she was only 6 ½ when he died, Julie Garfield recalls seeing her father on stage in Golden Boy where he introduced her during the curtain call. “When he smiled at you it was like being in the sun,” she noted. “He was funny and sometimes he would like to dance and kick up his legs. I remember him adoring me. He used to take me to the merry-go-round a lot in New York. He was so strong, so handsome and he loved to kid me. He would give me this mischievous smile. I wish I remembered more about him…”

[processedlives]

L. A. Rebellion filmmaker Barbara McCullough is interviewed about her film Water Ritual #1: An Urban Rite of Purification

[societyofaustralianpunk]

Punk Films and Videos from the UK, USA and Canada

A ton of films, documentaries and videos have been made about the punk subculture in both the UK and the USA, spanning back to 1976 until the present day.  Below is a huge list of punk films, documentaries and videos that you can watch for free - Enjoy!

25 Years of Punk Documentary

A Band Called Death - Before There Was Punk

A Brief History of Horror Punk - Anarchy in the World

A Brief History of Post-Punk - Anarchy in the World 

A HISTORY LESSON Punk Rock in Los Angeles in 1984 

A Unique Punk Landscape 

Adam & the Ants - Banshees & other Creatures

AFROPUNK: The Movie

Anarchism in America (1983) - Documentary on the American Anarchy Movement.

Another State of Mind

BBC Archive - Punk

BBC The Story of Skinhead - Don Letts

Before 1976 Revisited: How Punk Became Punk

Black Flag Reality 86'd

Brass Tacks PUNK documentary Manchester 1977

By Any Means: A Brief History of Black Flag: Part 1 - 1976-1980, Part 2: 1980-1986

Bunchofuckingoofs (BFG) New Music 1989

CBGB'S DOCUMENTARY 1978

Circle Jerks - My Career as a Jerk

Clockwork Orange County

Crass - Steve Ignorant on Crass. Un-Cut

Crass - There is No Authority But Yourself

Dancing in the Streets - No Fun

Dead on Arrival - The Punk Documentary That Almost Never Was

D.O.A. A Rite of Passage (1981)

Ears, Eyes and Throats: Restored Classic and Lost Punk Films 1976-1981

Fresh Fruit For Rotting Eyeballs (Dead Kennedys) 

Greetings from New York 1983

History of Punk: Sound of Rebellion

Islington Squatter Punk Documentary,  1983

Live Fast Die: The GG Allin story

London Ontario Punk Rock Documentary - Parts 1, 2, 3, 4, 5, 6

Made in Belfast

Made in Huddersfield

Never Mind The Baubles - Christmas '77 with The Sex Pistols

NOT DEAD YET -  Toronto 83 Hardcore Punk Scene

OFF!'s Keith Morris talks about his time in Black Flag & Circle Jerks

One Nine Nine Four: 90's Punk Rock

Punk : ??? - A (very) DIY documentary

Punk '76

Punk 76-79 (the Vancouver scene) - Part 1, Part 2, Part 3, Part 4, Part 5

Punk And Disorderly

Punk & The New Wave 1976-1978 ~ The Way They Were

Punk & The Pistols 1995

Punk Attitude

Punk Britannia Part 1 (1972-1976)

Punk Britannia Part 2 (1976-1978)

Punk Britannia Part 3 (1978-1981)

Punk feature on 'Review' - Ulster TV - 1978

Punk In Drublic Documentary

Punk in London

Punk The Early Years (1978)

Punk's Not Dead

Riot Grrrl: The '90s Movement that Redefined Punk

Ramones - Rock Milestones

Rock Family Trees: Banshees and Other Creatures

Rock Family Trees - New York Punk - Parts 1, 2, 4,

SLC Punk Full Movies - 1 & 2

Sex Pistols - Live in The USA

So Cal punk documentary

Somewhere to Go: Punk Victoria

Sounds of the 70s - Punk (Anarchy on the BBC)

Step Up and Be Vocal (Queer Punk)

StreetPunk - The Movie (2000)

Suburbia (Full Movie)1984

Surfpunks L.A. punk doc Dutch TV 1981

The Art of Punk - Black Flag - Art + Music

The Art of Punk - Crass - The Art of Dave King and Gee Vaucher

The Art of Punk - Dead Kennedys - The Art of Winston Smith

The Blank Generation (1976)

The Clash - bbc4 documentary

The Culture Show "Girls Will Be Girls" BBC 2 Women in Punk

The day the country died - history of anarcho punk

The Decline of Western Civilization 1981

The Decline of Western Civilization - Part 2: The Metal Years

The Decline of Western Civilization - Part 3: Gutter Punks

The Disrupters, The story of a Punk band

The Exploited

The Final 24 - Sid Vicious

The London Weekend Show Punk Rock 

The Shape of PUNK CINEMA

The Slog Movie

The Year of Punk Documentary London Weekend Television

Under The Influence: 2 Tone Ska 

Under The Influence: New York Hardcore

Urban Struggle

Visual Vitriol; The Art Of Punk

Where Did Punk Start?

X - The Unheard Music Documentary

You Weren't There

Related Articles:

Ears, Eyes and Throats: Restored Classic and Lost Punk Films 1976-1981

Related Websites:

https://en.wikipedia.org/wiki/List_of_punk_films

Related Books:

Destroy All Movies!!!: The Complete Guide to Punks on Film /  Video preview of the book.