Indiana University Bloomington

Black Film Center/Archive College of Arts and Sciences

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Facing the Facade Reunion and Discussion

Sunday, June 28 | 8:00pm (eastern) | Online/Zoom event (Free but registration required) | REGISTER

In 1994, documentary filmmaker Jerald Harkness returned to his alma mater, Indiana University, to interview Black students about their academic endeavors and personal experiences on the predominately white campus. Together, they created Facing the Facade. On June 28th, you are invited to a unique college reunion where these IU alums discuss their participation in Facing the Facade and what it means to them today. Dr. Terri Francis, director of the Black Film Center/Archive, and Facing the Facade director Jerald Harkness will moderate the conversation with several of the film’s participants as the Union Board Film’s Director Lauren Long brings in questions from the audience.

Facing the Facade (1994)

This rare documentary examines Black students’ multifaceted experiences on predominantly white college campuses and how they address feelings of alienation, frustration, and discrimination. Colleges throughout the U.S. today face alarming increases in racist incidents despite diversity initiatives and the greater presence of Black and Brown administrators and faculty. Facing the Facade presents interviews with eight Black men and women, all students at Indiana University in Bloomington. Although these students come from a wide variety of backgrounds, they all speak frankly–out of a sense of disappointment, sometimes bitterly, but often with wry humor and prescient clarity–about their shared “minority” status on campus, the persistence of racist attitudes among fellow students and even some instructors, as well as other complex issues such as racial separatism, integration, black studies programs, sexism, and even the redeployment of white-supremacist prejudices within their own community based on language, behavior, hair and dress styles. The students’ rich reflections and informed contributions provide an uncommon opportunity to learn from Black students as they narrate and analyze their own experience on their own terms; Facing the Facade is sure to inspire further discussions of college life as it is lived by various groups and individuals on a constantly changing campus.

Attendees are encouraged to watch Facing the Facade prior to the discussion. The film is available to the general public at this link through July 4th. WATCH HERE

Don't forget to register for the discussion on June 28th HERE. This event will be hosted on Zoom, which may require downloading software to your device when you sign into the event. The process should take less than a minute.

We recorded an initial conversation between Dr. Francis and Mr. Harkness to introduce this event. You are welcome to view that HERE.

This discussion is presented by Union Board and the Black Film Center/Archive.



Love! I'm in Love! Classic Black Cinema of the 1970s

Love! I'm in Love! Classic Black Cinema of the 1970s features movies about people working mightily and joyfully to build happy intimate relationships. The post-civil rights era’s unfinished project of equal access to quality housing, jobs, health care, and education serves as both atmosphere and a formidable antagonist. Traditional in many ways, these romantic dramas center Black lives and feature Black stars in the archetypal narrative of people figuring out how to love and live fully, with purpose and delight.​​ This partnership is supported through IU Cinema’s Creative Collaborations program.

Curated by Terri Francis of the Black Film Center/Archive, with support from IU Cinema, the IU Libraries Moving Image Archive, and The Media School. Special thanks to Yeeseon Chae.

During the 2020 spring semester, two exhibits related to the series will be on display in the quiet study area on the ground floor of the Wells Library and in the exhibit case at the IU Cinema.

For more information on the series, see the BFC/A's blog post for the Love! I'm in Love! film series.

Pre-Screen Talk by Philana Payton, PhD Candidate, University of Southern California, for Claudine
Thursday, February 6 | 6:15 – 6:45 p.m. | IU Cinema (Free)

Phillan Payton portraitPayton will discuss "Claudine, The Original Welfare Queen: Diahann Carroll and the Disruption of Respectability" in a public pre-screening talk, beginning at 6:15PM in the IU Cinema.

Philana Payton is a Scholar-Activist and PhD Candidate in Cinema and Media Studies at the University of Southern California. Her research focus uses Black Studies, Performance Theory and Film Theory to explore blackness and visual culture through Black women’s performances. Philana has also done extensive archival research on early 20th century Black Silent Cinema and has conducted race and gender analyses on classical-era films through today's cinema, television, and media.

For more information, see the BFC/A's blog post for the Love! I'm in Love! film series.

Claudine (1974), dir. by John Berry
Thursday, February 6 | 7:00 – 8:32 p.m. | IU Cinema (Free but ticketed)
| Get Tickets

A unique film on the emotional truths of living under the big, omnipresent force of the welfare office, Claudine follows the titular character—played by the dynamic Diahann Carroll—as she raises her children by working as a domestic maid for rich, white families. Her life is changed when Roop (James Earl Jones), a charming garbageman, catches her fancy. The lives of both begin to feel richer and more worth living, but also more complicated.


A Warm December (1973), dir. by Sidney Poitier
Friday, February 14 | 7:00 – 8:39 p.m. | IU Cinema (Free but ticketed)
| Get Tickets

Sidney Poitier stars in this whirlwind romance as the recently widowed Dr. Matt Younger who meets Catherine (Esther Anderson) while in London with his daughter. As Matt gets closer to Catherine, he realizes she is not only a princess and ambassador’s niece, but is also sick with sickle-cell anemia. Tender and fantastically romantic, the film combines narrative elements of Roman Holiday and Love Story. Showing the idea of love as the be-all-end-all, the story is centrally focused around whether our beautiful couple can end up together.


Aaron Loves Angela, 45th Anniversary Screening (1975), dir. by Gordon Parks, Jr.
Monday, February 17 | 7:00 – 8:39 p.m. | IU Cinema (Free but ticketed) | Get Tickets

Teenage Aaron (Kevin Hooks), a member of the aspiring but losing basketball team the Harlem Saints, doesn’t really want to do anything but be with Angela (Irene Cara). Despite his father’s wishes to turn Aaron into the sports star he could’ve been, Aaron tries to woo Angela by wandering around New York and scheming with his best man, Willie. The teenage couple fall in puppy love and soon they’re all running around together, holding hands, exploring 1970s New York. Contains mature content.


Something Good – Negro Kiss (1898), dir. by William Selig
Friday, February 21 | starts 12:15 p.m. | Franklin Hall, Room 312

Dr. Allyson Field, University of Chicago, will discuss the restoration and historical context of Something Good – Negro Kiss, which was discovered and restored by University of Southern California archivist Dino Everett and properly identified by Field. The performers featured in the film are Saint Suttle and Gertie Brown.

For more information, see the BFC/A's blog post for the Love! I'm in Love! film series.




Mireille Miller-Young Screening and Conversation
Thurday, April 16 | starts 6:15 p.m. | IULMIA Screening Room, Wells Library LI048 (Free)

Mireille Miller-Young portraitMireille Miller-Young, PhD, is Associate Professor of Feminist Studies at University of California, Santa Barbara, and the 2019–20 Advancing Equity Through Research Fellow at the Hutchins Center for African & African American Research at Harvard University. She researches and teaches about race, gender, and sexuality in US history, popular and film cultures, and the sex industries. 

Dr. Miller-Young’s book, A Taste for Brown Sugar: Black Women in Pornography (Duke University Press, 2014) was awarded the Sara A. Whaley Prize for Best Book on Women and Labor by the Natinal Women’s Studies Association and the John Hope Franklin Prize for Best Book by the American Studies Association. She has published in numerous anthologies, academic journals, and news outlets, and has been interviewed for various books, articles, radio programs, and documentaries.

Along with Constance Penley, Celine Parreñas Shimizu, and Tristan Taormino, Miller-Young is an editor of The Feminist Porn Book: The Politics of Producing Pleasure. She is also lead editor and contributor to the recent volume Black Sexual Economies: Race and Sex in a Culture of Capital.

Dr. Miller-Young is scheduled to discuss Love/Hate, a program of films on sexuality, gender, race and affection in a selection of Kevin Jerome Everson’s films as well as examples from her research on pornography.

Love/Hate: Kevin Jerome Everson's Coupling Films
Thurday, April 16 | starts 6:15 p.m. | IULMIA Screening Room, Wells Library LI048 (Free)
** This screening contains sexually explicit imagery. Mature audiences only. **

Pininic Free stillPicnic Free (2007-2020) is a film with found footage about a couple enjoying a beautiful day, long walks and a firearm, a blanket, food, sex and art. (11:36, b&w, color, silent)

Glenville (co-directed with Kahlil Pedizisai, 2020) is based on the 1898 film Something Good-Negro Kiss during a New Year’s Eve celebration in Cleveland, Ohio. (1:46, color)

Goddess (2019) is based on a stag film produced by American photographer Garry Winogrand and the corrupt police from Everson’s home county of Richland Ohio. (2:19, color, silent)

It Seems to Hang On (2015) is based on the true story of the serial killers Alton Coleman and Debra Brown, a young Black couple who cut a violent path beginning in the summer of 1984 through the American Midwest (Ohio, Kentucky, Michigan, Indiana, Illinois and Wisconsin).

The dialogue spoken in the film is inspired and based on lyrics from the American soul duo (and couple) Ashford and Simpson’s 1979 hit song “It Seems to Hang On”. The lyrics refer to a couple struggling to hang on or to be together thought adversity. Filmmaker Kevin Jerome Everson’s strategy was to make a film about a desperate, violent but loving couple on the run from the law.

The film was shot in and around the city of Detroit, and area where Coleman and Brown committed several murders. Their crimes were horrific, and their victims were Black with the exception of one white woman, a murder that eventually led to Coleman’s conviction and execution. Alton Coleman was executed in 2002. Debra Brown is doing life in a prison in Indiana. Coleman was born in 1956 in Waukegan, Illinois near Wisconsin. Debra Brown was born in 1962 in Ohio. There is no current documentation on how they met.


Twice as nice screening featuring jessie maple

Twice As Nice (1989), dir. by Jessie Maple
Thursday, January 30 | starting @ 6:15 p.m. | IULMIA Screening Room, Wells Library LI048 (Free)

Director Jessie Maple will be on site during the screening of Twice As Nice to discuss her film and career.

Preserved by the Black Film Center/Archive through a grant from the National Film Preservation Foundation, Twice as Nicefollows twins Caren and Camilla Parker, both star players on a college women’s basketball team energized by the prospect of a first female pick in the upcoming “MBA” draft. Maple looks again here to the strength of community and family, as in her first feature, the groundbreaking Will (1981).

Maple’s cast, composed largely of non-professional actors, features legends of NCAA, Olympic, and WNBA basketball.  Among them are Cynthia Cooper-Dyke, and twins Pamela and Paula McGee.

For more on Maple, her work, and recent memoir, The Maple Crew, see the BFC/A's blog for a guest post by Essence London.


Fall 2019

P.S. vieyra: Pioneer of african cinemas, filmmaker, producer and historian workshop

P.S. Vieyra: Pioneer of African Cinemas, Filmmaker, Producer and Historian Workshop gathers a variety of thinkers to discuss Paulin Vieyra’s legacy. Over two days scholars, critics, archivists, and librarians convene learn the scope and condition of Vieyra’s papers and audiovisual media and reflect on the potential of accessioning his materials at IU where they would be housed alongside his collaborator Ousmane Sembène. The day is organized around specific aspects of Vieyra’s career and proceeds through semi-informal roundtables. Each participant contributes a 10-minute presentation before opening up the topic for wider conversation.

Workshop Itinerary
All events are free and open to the public.

Thursday, September 5

  • 11:30-1:30 p.m. | Ousmane Sembène Archives Pop-Up Exhibit | Lilly Library
    • Welcome: Erika Dowell (Associate Director, Lilly Library) and Terri Francis (Director, Black Film Center/Archive, and Associate Professor, Cinema and Media Studies)
  • 2:00-2:45 p.m. | Introductions and Keynote | Phyllis Klotman Room (Wells Library 044B)
    • Keynote: Presentation of Paulin S. Vieyra's Archives,
      • Keynote speaker: Stéphane Vieyra (President, PSV-Films, and son of Paulin S. Vieyra)
      • Moderator: Vincent Bouchard (Associate Professor, French and Italian, Indiana University)
  • 3:00-4:30 p.m. | Vieyra, Filmmaker | Phyllis Klotman Room (Wells Library 044B)
    • Moderator: Akin Adesokan (Associate Professor of Comparative Literature, Indiana University)
    • Panelists:
      • Rachel Gabara (Associate Professor of French, University of Georgia)
      • Samba Gadjigo (Helen Day Gould Professor of French, Mount Holyoke College)
      • Sada Niang (Professor of French, University of Victoria)
  • 5:00-7:00 p.m. | Film Screening | IU Libraries Moving Image Archives Screening Room (Wells Library 048)
    • Afrique sur Seine (1955, 21 min.), J.M. Kane, M. Sarr, P.S. Vieyra
    • Une nation est née [A Nation Is Born] (1961, 25 min.), P.S. Vieyra
    • Lamb (1963, 18 min.), P.S. Vieyra
    • Sindiely (1965, 16 min.), P.S. Vieyra
    • Mol (1966, 27 min.), P.S. Vieyra

Friday, September 6

  • 9:00-10:30 a.m. | Vieyra, Post-Colonial Intellectual | Phyllis Klotman Room (Wells Library 044B)
    • Moderator: Michael T. Martin (Professor, Cinema and Media Studies, Indiana University)
    • Panelists:
      • Maguèye Kasse (Associate Professor, Université Cheikh Anta Diop)
      • Amadou Ouédraogo (Associate Professor and UL Federal Credit Union II/BORSF Endowed Professor of Francophone Studies, University of Louisiana at Lafayette)
      • Catherine Ruelle (Independent scholar)
  • 11:00-1:00 p.m. | Film Screening | IU Libraries Moving Image Archives Screening Room (Wells Library 048)
    • En Residence Surveillée [Under House Arrest] (1981, 102 min.), P.S. Vieyra
  • 2:15-4:00 p.m. | Vieyra, Historian and Producer | Phyllis Klotman Room (Wells Library 044B)
    • Moderator: Marissa Moorman (Associate Professor, History, Indiana University)
    • Panelists:
      • Vincent Bouchard (Associate Professor, French and Italian, Indiana University)
      • Rachel Gabara (Associate Professor of French, University of Georgia)
      • Elena Razlogova (Associate Professor, History, Concordia University)
  • 4:30-7:00 p.m. | Film Screening | IU Libraries Moving Image Archives Screening Room (Wells Library 048)
    • L’envers Du Décor [Behind the Scenes] (1981, 16 min.), P.S. Vieyra
    • Ceddo (1977, 112 min.), Ousmane Sembène

Once Haunted Series

Once Haunted is a multi-venue series examining the idea of haunting, both as a multifaceted trope of desire, physical ruins, loss, and social change, as well as a citation from specific genres of horror and surrealism.

A post-film discussion will follow the screening. Curated by Sarah Lasley of the Eskenazi School of Art, Architecture + Design and Terri Francis of the Black Film Center/ Archive and The Media School, with support from IU Cinema and College Arts and Humanities Institute. This partnership is supported through IU Cinema’s Creative Collaborations program.

This series is sponsored by the Black Film Center/Archive, Center for Latin American and Caribbean Studies, and IU Cinema.

Once Haunted. Films by Crystal Z. Campbell and Madeleine Hunt Ehrlic
Saturday, September 14 | 7:00 – 7:39 p.m. | IU Cinema (Free but ticketed)
| Get Tickets

Directors Crystal Z Campbell and Madeleine Hunt-Ehrlich are scheduled to be present.

Go-Rilla Means War (2017, NR, HD, 20 min.), dir. Crystal Z Campbell
Using 35mm film salvaged from a now-demolished Black civil rights theater in Brooklyn, Crystal Z Campbell’s Go-Rilla Means War is a filmic relic of gentrification—a parable weaving intersections of development, cultural preservation, and erasure. [Explore this film]

A Quality of Light (2018, NR, HD, 8 min.), dir. Madeleine Hunt-Ehrlich
A Quality of Light is the first part of Hunt-Ehrlich’s Black Composer Trilogy, which draws on her family’s history to shed light on untold stories of Black women artists. This film weaves together archival footage and quotes by writer and political revolutionary Aimé Césaire with scenes that foreground the effects of aging on the director’s grandmother, who was a prolific composer. [Explore this film]

Spit on the Broom (2019, NR, HD, 11 min.), dir. Madeleine Hunt-Ehrlich
Inspired by Hunt-Ehrlich’s working trips with Leigh to visit with the women of the United Order of Tents, Spit on the Broom is a surreal documentary that moves between re-creations of recorded events and lyrical evocations of latent aspects of African American women’s history. At the heart of the film are encounters with the women of the United Order of Tents, who express the group’s core value of self-determination for its members and constituents. [Explore this film]

Once Haunted Still. Films and Video Essays by Nikyatu Jusu, Mariama Diallo, Eva Hageman, and Nuotama Bodomo
Wednesday, September 18 | starts at 7:00 p.m. | IU Libraries Screening Room (Wells Room 048)
| Free but ticketed

Discussion to follow screening.

Suicide by Sunlight (2018, NR, 17 min.), dir. Nikyatu Jusu
Valentina, a day-walking black vampire protected from the sun by her melanin, is forced to restrain her bloodlust to regain custody of her estranged daughters. Sundance winner for best short film.

Suicide by Sunshine still

Everybody Dies! (2016, NR, 9 min.), dir. Nuotama Bodomo
This short film by Ghanaian director Nuotama Bodomo (as Frances Bodomo), made its debut in 2016 as part of the anthology collective: unconscious.

Everybody dies still

Shiplap (2019, NR), dir. Eva Hageman
Eva Hageman's video essay Shiplap (2019) examines HGTV's House Hunters.

Shiplap still

Dr. TreaAndrea Russworm


TreaAndrea Russworm, expert on race and video games, Visits Indiana University September 19.

Race & Video Games: Public Talk
Friday, September 20 | 12:15 – p.m. | Franklin Hall FF 312

Before joining the English Department at the University of Massachusetts, Amherst in 2008,TreaAndrea M. Russworm earned her B.A. from Brown University and M.A. and Ph.D. from the University of Chicago. Her areas of research and teaching specialization include: video games and new media, digital cultural studies, African American popular culture, digital humanities, comic books and visual representation, and postmodern and psychoanalytic theories.

Dr. Russworm's books on popular media include the anticipated edited collections, Gaming Representation: Race, Gender, and Sexuality in Video Games (co-edited with Jennifer Malkowski) and From Madea to Media Mogul: Theorizing Tyler Perry (co-edited with Samantha Sheppard and Karen Bowdre). Russworm’s contribution to both books continues her critique of the humanizing impulse in post-civil rights representational culture, from video games and other digital media to popular films and television shows. Dr. Russworm's talk is co-sponsored by the Black Film Center/Archive, Cultural Studies and The Media School.


Numa Perrier: The Politics of Pleasure

Numa Perrier portraitBorn in Haiti and raised in “small town USA,” Numa Perrier is an actress, filmmaker, and artist. Her feature-film directorial debut, Jezebel, premiered at SXSW 2019 (with three sold-out screenings), landing on The Hollywood Reporter’s Critics Choice list and named by IndieWire as a must-see film at the festival. Perrier developed the script for Jezebel as part of the Tribeca Film Institute’s Through Her Lens: The Tribeca Chanel Women’s Filmmaker Program, which provides development and funding support to emerging U.S.-based female writers and directors.

Soon after SXSW, she joined the ranks of the all-female directing team on the fourth season of the television show Queen Sugar, which was created and executive produced by Ava DuVernay for the Oprah Winfrey Network. In 2011, Perrier co-founded the online platform Black&Sexy TV, an entertainment and lifestyle network focused on a young, progressive, Black audience, which featured early work from Lena Waithe and Issa Rae. Perrier has guest starred on Showtime’s SMILF, in an acclaimed story arc about immigrants, and is currently in development on her follow-up feature, Blood Mother, via her boutique production arm, House of Numa.

These programs are presented as part of IU Cinema’s Running the Screen: Directed by Women film and conversation series—a celebration of women filmmakers from across the globe throughout the month of September 2019. Support for the events in this series was provided by the IU Women’s Philanthropy Leadership Council, Black Film Center/Archive, and the Jorgensen Guest Filmmaker Series.

Curated by Brittany D. Friesner and Numa Perrier in collaboration with Terri Francis of the Black Film Center/Archive.

Jezebel (2019) Screening
Monday, September 23 and Friday, September 27 | 7:00 – 8:28 p.m. | IU Cinema (Free but ticketed)
| Get Tickets
Writer/Director Numa Perrier is scheduled to be present at the September 23rd screening only.

Set in Las Vegas in 1998, Jezebel is a semi-autobiographical coming-of-age story based on writer/director Numa Perrier’s own experience as a webcam girl in Sin City. In the last days of her mother’s life, 19-year-old Tiffany (Tiffany Tenille) crashes with five family members in a Las Vegas studio apartment. In order to make ends meet, Tiffany’s sister Sabrina (Numa Perrier), a phone sex operator, introduces her to the world of internet fetish cam girls. Kellee Terrell ( said of the film “ … the storytelling in Jezebel is full of life. It’s adorned with emotion, grit, and heart, but most importantly, it’s rich in creating spaces for Black women’s sexuality to develop, expand, and awaken on-screen, a rarity in film.” The film was shot in the same building as Perrier’s actual former residence, which she found to be virtually unchanged from the time she lived there. Contains mature content.

Jorgensen Guest Filmmaker Series featuring Numa Perrier
Tuesday, September 24 | 5:00 – 6:15 p.m. | IU Cinema (Free but ticketed)
| Get Tickets

This program will be in the form of an extended, on-stage interview.

Cléo from 5 to 7 (1962), dir. by Agnès Varda
Tuesday, September 24 | 7:00 – 8:29 p.m. | IU Cinema (Free but ticketed)
| Get Tickets

Numa Perrier presents Cléo From 5 to 7. Director Agnès Varda eloquently captures Paris in the ’60s with this real-time portrait of a singer (Corinne Marchand) set adrift in the city as she awaits test results of a biopsy. A chronicle of the minutes of one woman’s life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand (The Umbrellas of Cherbourg) and cameos by Jean-Luc Godard and Anna Karina. Cléo from 5 to 7 premiered at the 1962 Cannes Film Festival and was nominated for the Palme d’Or. In French with English subtitles. Contains mature content.


Kevin Everson exhibition, Rough and Unequal

The Grunwald Gallery and Black Film Center/Archive are pleased to present Rough and Unequal, a film by Kevin Jerome Everson. The film will be exhibited in the Grunwald Gallery as the centerpiece for a symposium featuring the filmmaker in collaboration with IU Faculty, students and Indianapolis Museum of Art at Newfields Associate Curator of American Art Dr. Kelli Morgan.

This installation expands the Black Film Center/Archive’s exploration of the reverberations between the genre of nonconformist filmmaking known as “the avant-garde” and the parallel insurgent cinemas of the African Diaspora. The screening of Rough and Unequal in an art gallery setting is consistent with previous screenings, providing a contemplative space for the 11-minute silent film. The presentation of the film in this setting, where the public will be able to revisit the film over a period of time, will provide a viewing experience very different than one that can be provided in the cinema. Placing Everson’s film in an art gallery context draws attention to the visual aspects of the film and creates the connection to visual art.

About Kevin Jerome Everson

Kevin Jerome Everson (b. 1965) works in film, painting, sculpture, and photography. His filmic fables, the focus of this exhibition, articulate the profound within the ordinariness of everyday life. Everson, who was born in the working-class community of Mansfield, Ohio, depicts details in the lives of people living and working in similar American communities: a mechanic repairing an old car in a backyard, a black beauty queen in a segregated pageant, men boxing, snowplow operators in winter, young men walking into a courtroom, the aftermath of a murder. Some of Everson’s films are constructed from appropriated news and film footage, uncovering forgotten details of African- American life in the 1960s and 70s. In other films, the artist explores the waxing and waning of a community’s sense of itself and the migration of black people from the South to the North in order to find work. Everson, whose work was included in the 2008 Whitney Biennial, approaches race, sexuality, and economic circumstances with a poetic yet unflinching eye. Adopting the stance of an observer, his interest in labor has both a political and a formal aspect, exploring the relationship between the human body and the materiality of the labor it performs as both an expression of class and identity, and as a performative gesture.

The exhibition and symposium are made possible by New Frontiers in the Arts and Humanities and the College Arts and Humanities Institute at Indiana University.

Media School News Release

Tuesdays-Saturdays, August 6-October 4 | noon – 4:00 p.m. | Free | Grunwald Gallery

Rough and Unequal Symposium Schedule
All events are free and open to the public.

Friday, September 27

  • noon–2:00 p.m. | Lunch roundtable discussion led by Kevin Everson with participation by Kelli Morgan, Terri Francis, Carmel Curtis, Ross Gay, and Joan Hawkins. Located in the Grunwald Gallery.
  • 2:30–4:00 p.m. | SoAAD and Media School student film screenings. Located in Media School room FF304C.
  • 5:00–6:00 p.m. | Public conversation: Kevin Everson and Terri Francis. Located in Fine Arts 015.
  • 6:00–7:30 p.m. | Opening reception. Located in the Grunwald Gallery. 

Saturday, September 28

  • 2:00–4:00 p.m. | Screening of Kevin Everson films followed by conversation with Ross Gay. Located in the IU Libraries Moving Image Archives Screen Room (LI 048), Wells Library.

Do the Right Thing screening

Do the Right Thing (1989), dir. by Spike Lee - 30th Anniversary/New 4K Restoration Screening
Monday, November 4 | 7:00 – 8:52 p.m. | IU Cinema ($4)
| Get Tickets

It's the height of summer and the hottest day of the year—a scorching 24-hour period that will change the lives of its residents forever. Over the course of a single day on one block of Brooklyn’s Bed-Stuy Do or Die neighborhood, the easygoing interactions of a cast of unforgettable characters give way to heated confrontations as tensions rise along racial fault lines—ultimately exploding into violence. Punctuated by the anthemic refrain of Public Enemy’s “Fight the Power,” Do the Right Thing is a landmark in American cinema, as politically and emotionally charged and as relevant now as when it first hit the big screen. Restoration courtesy of the Criterion Collection. Contains mature content.

30th Anniversary Screening/New 4K Restoration screened as part of the IU Cinema's Ruth E. Carter: Afrocentric Cinematic Universes curated and programmed by Brittany D. Friesner.


Hyenas screening

Hyenas (1992), dir. by Djibril Diop Mambéty
Wednesday, November 6 | 7 p.m. | IU Libraries Moving Image Archive Screening Room (Wells, Rm. 048) | Free but ticketed

The village of Colobane, devastated by drought and unemployment, sees sudden hope for the future with the arrival of a former citizen, Linguère Ramatou (Ami Diakhate), who left her hometown when still a young woman, but now returns with a great fortune. The grocer Dramaan Drameh (Mansour Diouf), one of Colobane’s leading citizens and Ramatou’s former lover, is selected to lead a welcoming committee, but after a seemingly tender reunion to the two, Ramatou reveals the true depths of her bitterness towards Dramaan Drameh, who impregnated her and denied his responsibility, resulting in her being sent into an uncaring world where she had to turn to prostitution to survive. 

She offers the villagers a hard deal: One hundred billion dalasis (Gambian currency) in exchange for the death of Dramaan Drameh. The citizens of Colobane refuse, but as the village is flooded with consumer goods, they are driven deeper and deeper into debt, forcing them to make a hard collective decision. Will it be the money, or Dramaan Drameh’s life?

Hyneas group photo 

Courtesy of Metrograph


Babylon screening

Babylon (1980), dir. by Franco Rosso
Friday, November 8 | 7:00 – 8:35 p.m. | IU Cinema (Free but ticketed)
| Get Tickets
Musician/Actor Brinsley Forde is scheduled to be present.

Initially released in 1980 at Cannes, though not in the U.S. for fear that it would incite racial tension, Rosso’s film follows a dancehall DJ (played by Brinsley Forde, the lead singer of the reggae band Aswad) in South London as he pursues his music and confronts the racism and xenophobia of employers, neighbors, and police in Margaret Thatcher’s England. The upbeat reggae soundtrack is a counterpoint to the unapologetic portrayal of urban life for Caribbean immigrants. Contains mature content, including violence and strong language.

Brinsley FordeBrinsley Forde is an actor and musician best known as the founding member of the British super Reggae group, Aswad. Aswad was formed in West London in 1974 with Brinsley fronting the original five piece on both vocals and rhythm guitar. The group quickly became recognized among reggae fans for their rich melodies and compelling harmonies, woven over hard rhythm tracks and later inspired horn riffs.

Curated by Marissa Moorman of IU Platform Global Popular Music, with support from IU Cinema, College Arts and Humanities Institute, Department of Spanish and Portuguese, and the Black Film Center/Archive.

Spring 2019

Black Sun, White Moon: Exploring Black Cinematic Imaginations of Space

This year marks the 50th year since Neil Armstrong’s moon landing. In honor of this “giant leap for mankind,” the Black Film Center/Archive and IU Cinema present the Black Sun, White Moon film series. As the films bring us vibrant celestial images and narratives of unique human achievement, we invite audiences to also discuss the relationships between space travel, socioeconomic inequity, and communities of African descent. This partnership is supported through IU Cinema’s Creative Collaborations program.

This series is sponsored by the Black Film Center/Archive, Center for Latin American and Caribbean Studies, and IU Cinema.

Fly Me to the Moon
Sunday, March 24 | 4:00 – 6:03 p.m. | IU Cinema (Free but ticketed)
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Director Esther Figueroa is scheduled to be present.

The feature-length documentary Fly Me to the Moon focuses on the Caribbean landscape, where bauxite has been mined for the advancement of space travel and other modern aspects of life for more than 100 years. Through archival footage and interviews of Jamaican farmers, activists, and politicians, the film shows the legacy of toxic waste and social injustice that continues to haunt the region today. This work-in-progress screening will be the first public presentation of the film and will be followed by a discussion with environmentalist filmmaker Figueroa.

Nontheatircal Ecologies: The Films of Esther Figueroa
Monday, March 25 | 6:00 – 8:30 p.m. | IULMIA Screening Room, Wells 048 (Free but ticketed)
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Esther Figueroa, PhD, is an independent Jamaican filmmaker with over 35 years of experience. A self-taught activist filmmaker, her work focuses on local knowledge, Indigenous cultures, social injustice, community empowerment and, environmental issues. Her poignant documentaries give voice to those outside of mainstream media and aim to counter dominant narratives and practices that are driven by commercial and political interests.

This screening series at IU Libraries Moving Image Archive Screening Room concentrates on Figueroa’s documentary work in Jamaica, particularly her feature-length documentary Jamaica for Sale (2008/2009), and discusses her filmmaking career in the context of Caribbean cinema and society.

Jamaica for Sale (84 minutes)
Jamaica for Sale is a feature length documentary about unsustainable tourism development, its destruction of Jamaica’s natural environment and failed promise of local economic benefits. Filmed during a period of intensive large-scale resort construction, it engages with a cross section of Jamaicans: workers who labor for low wages in the tourist industry; small hoteliers and providers of tourism services concerned about the future of the industry; fishermen affected by the increasing development of the coast; citizens alarmed at their exclusion from the beaches and decision making processes that allow for development in their communities; and environmentalists fighting to have the value of the Jamaica’s natural resources recognized.

Massa God Fish Can Done (15 minutes)
Jamaica is the most over-fished country in the Caribbean, and one of the most over-fished in the world. Chronic unemployment, overfishing and development practices, pollution, a weak fishery regulatory framework, and lack of enforcement of present environmental laws have led to degraded reefs and the loss of important fish nurseries. As part of efforts to counter these trends and to foster fishery conservation, in 2008, the Nature Conservancy Jamaica Program sponsored a fisher exchange between Jamaica and Belize. Massa God Fish Can Done is a 15-minute educational video which shows how Belize, which had itself been over-fished, changed to having the most successful fishery conservation practices in the Caribbean and argues that Jamaica should follow the South American country’s example. In Jamaica there is the saying Massa God Fish Can Done meaning Marine resources are infinite and cannot be exhausted, and that God will always provide. "Massa God Fish Can Done" shows that in fact marine resources are depleted and will continue to fail unless the government, regulators, fishers, consumers all change our attitudes and habits.

Cockpit Country Is Our Home (28 minutes)
A 28-minute educational video about the biota of Cockpit Country, the interior western region of Jamaica. Through breathtaking, intimate footage you get to experience Cockpit Country's environment and the animals found there. The video explains the interconnected ecology of Cockpit Country, the role of trees and plants such as Bromeliads, and features Jamaican bats; the Jamaican Slider Turtle; the Jamaican Laughing Frog; the Jamaican Yellow Boa; a variety of birds including Doves, Pigeons, Yellow and Black-billed Parrots, Olive-throated Parakeets, Hummingbirds, the Jamaican Tody, and the Jamaican Woodpecker; Snails; and Anancy, the Golden Spider. Made especially for a Jamaican audience, it is narrated by residents of Cockpit Country from a cross-section of ages who personify Cockpit Country and its biota. The documentary also features as on camera talent Lorna Williams Christie, president of the Local Forest Management Committee, Susan Koenig, Ph.D. Wildlife Ecologist, Windsor Research Centre, and Wayne Francis, research assistant.

Sponsored by the BFC/A and the IU Libraries Moving Image Archive/Screening Room.

Space Is the Place ; Afronauts ; Polly One
Saturday, February 23 | 7:00 – 8:29 p.m. | IU Cinema (Free but ticketed)
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Space is the Place (1974, 81 minutes, directed by John Coney, unrated)
The same year of Armstrong’s moon landing, Sun Ra and the Archestra land on an unknown planet in the fictional narrative Space is the Place. They declare the planet a new colony for African Americans and begin a long, arduous journey of recruiting settlers from Earth, using music as a medium for transportation. Sun Ra was a jazz musician, famous for his experimental compositions and his larger-than-life persona, and he is acknowledged as a pioneer in Afrosurrealist traditions, in part due to this film.

Afronauts (2014, 20 minutes, directed by Nuotama Frances Bodomo, unrated)
Afronauts follows an ingenious group of Zambian villagers as they build a homemade rocket in a daring bid to put the first African woman on the moon. Diandra Forrest, Yolonda Ross, and Hoji Fortuna star. In writer/director Bodomo’s words, the film centers “the perspective of exiles and outsiders, the people who most need the promises of the space race.”

Polly One (2018, 6 minutes, directed by Kevin Kerome Evenson, unrated)
Polly One is a silent meditation on the 2017 total solar eclipse from a Saluda, N.C., vantage point. The film stares directly into the light, capturing elemental power at its source and is dedicated to director Kevin Jerome Evenson’s grandmother, who passed away one day before the cosmic event.

Together Un/Known

Together Un/Known: Archival Ethics and the Case of Acquisition 6130
Tuesday, March 26 | 1:30 – 3:45 p.m. | IU Libraries Screening Room (Wells Library, Room 048)

Anonymous home movie collections, while not entirely rare, present unique challenges for archives. In the case of Acquisition 6130 at the Academy Film Archive, archivists discovered what appeared to be home movies of a gay interracial couple living in Southern California in the early 1970s. This presentation will look at the discovery process of the home movies, the passionate pursuit of locating the subjects in the films, and the ethics surrounding the role of the archivist in identifying content, inferring meaning, and ultimately shining a light on the lives (romantic or otherwise) of private citizens. May Haduong of the Academy Film Archive will share video clips from the 8mm and Super 8 home movies to accompany her talk.

May Haduong is the Senior Manager of Public Access at the Academy Film Archive, where she oversees access to the Archive’s Collection. Prior to serving at the Academy Film Archive, she was the Project Manager for the Outfest UCLA Legacy Project for LGBT Moving Image Preservation, a collaboration between the UCLA Film & Television Archive and Outfest, which produces the Los Angeles LGBT Film Festival. She currently serves on the Legacy Project Advisory Committee.

1:30 PM - 2:30 PM | May Haduong Presentation + Q&A
2:45 PM - 3:45 PM | Screening

Direction Kathleen Collins

Direction Kathleen Collins
Wednesday, April 3 | 6:00 – 9:00 p.m. | IU Libraries Screening Room (Wells Library, Room 048)

Nina Lorez Collins, daughter of the late Kathleen Collins, whose masterwork LOSING GROUND (1982) was the great rediscovered film of 2015, will read selections from a new book of her mother's writing entitled NOTES FROM A BLACK WOMAN'S DIARY (2019). The reading will take place at the IU Libraries Screening Room and be followed by a screening of the film.

A stunning collection of fiction, diary entries, screenplays, and scripts by the brilliant African-American artist and filmmaker. Relatively unknown during her life, the artist, filmmaker, and writer Kathleen Collins emerged on the literary scene in 2016 with the posthumous publication of the short story collection Whatever Happened to Interracial Love? Said Zadie Smith, “To be this good and yet to be ignored is shameful, but her rediscovery is a great piece of luck for us.” That rediscovery continues in the book, which spans genres to reveal the breadth and depth of the late author’s talent. The compilation is anchored by more of Collins’s short stories, which, striking and powerful in their brevity, reveal the ways in which relationships are both formed and come undone. It is in Collins’s raw and prescient diaries that her nascent ideas about race, gender, marriage, and motherhood first play out on the page.

LOSING GROUND (1982), dir. Kathleen Collins, tells the story of an accomplished and beloved philosophy professor, Sara Rogers (Seret Scott), who is married to a vivacious artist, Victor (Bill Gunn). Their marriage becomes strained by Victor's obsession with painting a Puerto Rican woman, Celia, who lives in the town where Sara and Victor are living for the summer. Meanwhile, Sara agrees to appear in a film being made by one her students in which she plays opposite to Duke (Duane Jones). Her's and Duke's performance as lovers for the student film moves ambiguously, back and forth, across the threshold between real life and fiction. The film is a subtle and sincere look at desire and the exasperating tendencies of love, particularly amidst the complexities of gender, race and ethnicity, power, and art.

The Burial of kojo

The Burial of Kojo Screening and Q&A
Wednesday, April 10 | 7:00 – 9:30 p.m. | IU Libraries Screening Room (Wells Library, Room 048)
| Reserve FREE Ticket

This screening will take place in the IU Libraries Screening Room, Wells Library 048. Director, Samuel “Blitz” Bazawule will be present for a post screening discussion. You don't want to miss this exciting and exclusive event!

The Burial of Kojo is an official selection of the 2019 Pan African Film Festival and the 2018 Urbanworld Film Festival Best Narrative Feature Winner. Marking his feature debut, Bazawule tells the story of two brothers through the eyes of a gifted girl who travels beautiful lands that exist between life and death. The trailer above shows Bazwule’s stunning vision of the familial narrative through the lens of magical realism and Afrofuturism.

Featurette - The Sonic Magic Behind the Burial of Kojo:



Borderline with score by RenÈe Baker

Borderline (1930) Screening and Q&A w/composer Renee Baker
Wednesday, April 24 | 7:00 – 9:00 p.m. | IU Libraries Screening Room (Wells Library, Room 048)
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Screening will be followed by a Q&A with composer Renee Baker.

BORDERLINE (1930) - Adah, a black woman, has an affair with Thorne, a white man, much to the dismay of some of the prejudiced townsfolk and Thorne's wife, Astrid. Adah attempts a reconciliation with her man, Pete, but eventually leaves him and the town. Meanwhile, Astrid goes mad and cuts Thorne's face and arm with a knife, but then mysteriously dies. Thorne is tried but acquitted. Because of the events, the mayor sends Pete a letter asking him to leave town for the good of all concerned.

Scored by Renée Baker and the Chicago Modern Orchestra Project.
Directed by Kenneth MacPherson
Starring Paul and Eslanda Robeson

RENEE BAKER is founding music director and conductor of the internationally acclaimed CHICAGO ORCHESTRA PROJECT CMOP), a polystylistic organization that grew from the plums of classical music as well as jazz. A member of the world-renowned collective Association for the Advancement of Creative Musicians (AACM), there are few barriers to the creative turns of this composer, conductor, artist, and instrumentalist. As a featured ensemble, CMOP has been chosen to work with NewMusicUSA and the EarShot program of the American Composers Orchestra. Called the latest AACM visionary by DownBeat Magazine, Baker is one of the brightest and most fertile minds in active in composition today. Sponsored by The Black Film Center/Archive at IU and hosted by the IU Libraries Moving Image Archive/Screening Room.

This event is free, but ticketed, and open to the public.

Fall 2018

DirectedbyWomen Mystery Screening Party

DirectedByWomen Mystery Screening Party
Thursday, September 20 | 7:00 – 8:15 p.m. | IU Libraries Screening Room (Wells Library, Room 048)
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Please join us for the #DirectedByWomen Worldwide Film Viewing Party screening in the IU Libraries Screening Room located on the Ground Floor of the Wells Library (Room 048).

Let's experiment with going to a screening without knowing what we're going to see. Explore women's filmmaking for the fun of it!

Inspired by the Flaherty Film Seminar. Eager to try something new and fun.

Background: Frances Flaherty described her famous husband’s approach to filmmaking as one of “non-preconception”: "Nonpreconception is the pre-condition to discovery, because it is a state of mind. When you do not preconceive, then you go about finding out. There is nothing else you can do. You begin to [explore.]” Frances H. Flaherty, The Odyssey of a Film-maker: Robert Flaherty’s Story (New York: Amo, 1972): 10.

The BFC/A, #DirectedByWomen, and IULMIA invite you to explore. This content of this screening will not be announced publicly beforehand. It begins promptly at 7PM followed by discussion with the filmmaker.

This event is free, but ticketed, and open to the public. The Screening Room temperature tends to run cool, so please remember to bring a jacket or sweater. No food or drink is permitted in the Screening Room.


(Re)Focus: Black America 1968 and 2018


The BFC/A explores race, film, and campus life in collaboration with Indiana University Archives, IU Libraries Moving Image Archive, and Neal-Marshall Black Culture Center Library. Our event on Oct. 24 starts at 6 pm with conversation and artifacts from IU's 1968 Focus: Black America program then moving on to screen two films on race and education. (Re)Focus: Black America 2018 is supported by an Indiana Humanities grant. The interactive exhibition, screenings and post-film discussions take place in Wells Library 048, the IULMIA Screening Room.

(Re)Focus: Black America 2018 revisits and re-examines the content, archival material, and public reception of FOCUS: Black America, a year-long program of screenings, lectures, and courses that Indiana University administrators, faculty, and students organized in 1968.

(Re)Focus schedule
Wednesday, October 24 | 6:00 – 9:00 p.m. | IU Libraries Screening Room (Wells Library, Room 048)

  • 6:00 PM - Open-Door Archive
    Students, Faculty, Librarians and Archivists from University Archives, the Black Film Center/Archive, the Moving Image Archive, and the Neal-Marshall Black Cultural Center Library will showcase materials related to the original 1968 event and early 1970s IU history in an open-door archive.

  • 6:30 PM - Heritage of the Negro (1965, 30 minutes) screening / directed by Ossie DavisOssieDavis
    Following the interactive Open-Door Archive session, the BFC/A will host a screening of the short educational film, Heritage of the Negro, narrated by actor, author, activist, and director Ossie Davis. Ossie Davis reflects upon society's ignorance of African and African American cultures. Part of a film series from the original Focus 1968 program, Heritage opens with scholars, writers, and artists who unpack the film's title and reflect upon the educational experiences they received in the 1950s and 1960s.

  • 7:00 PM - Facing the Façade (1994, 55 minutes) screening / director and IU Alum, Jerald Harkness will be present
    Fast forward to IU in the early 1990s, with a screening of the documentary Facing the Façade. Directed by IU alumnus, Jerald Harkness, the film features interviews with African American students about their education. Harkness will be present to discuss the film.

Young, Gifted, and Black: Michael Schultz Celebrates 50 Years In Stage and Screen

Join the Black Film Center/Archive and IU Cinema as we celebrate the 50-year career of filmmaker Michael Schultz. The series marks a reunion as well, taking place 30 years after Schultz’s previous visit to Indiana University with his wife and creative partner, Gloria Schultz. Young, Gifted, and Black brings to the big screen a selection of the award-winning director’s most exuberant films from the dawning years of the hip-hop age. [IU News Release]

The series is sponsored by the Black Film Center/Archive, IU Office of the Bicentennial, Archives of African American Music and Culture, and IU Cinema.

To Be Young, Gifted, and Black (1972) / directed by Michael Schultz
Wednesday, November 7 | 6:30 – 9:00 p.m. | IU Libraries Screening Room (Wells Library, Room 048) | Facebook

When A Raisin in the Sun opened on Broadway, the world of literature had found an exciting new voice. In her words, her letters, poems, diaries and plays, there is a uniquely gifted vision of one who left us so young, yet left us so enriched. This made for television movie, directed by Michael Schultz is the portrait of Lorraine Hansberry.

To Be Young, Gifted, and Black (1972) will be screened as a 2K DCP made from a 4K scan of 16mm archival production elements by the Indiana University Libraries Moving Image Archive, who is also co-sponsoring the event.

FREE but requires Reservations @

Cooley High (1975) screening / directed by Michael Schultz, produced by Michael and Gloria Schultz
Thursday, November 8 | 7:00 – 8:47 p.m. | IU Cinema (Free, but ticketed)

Cooley_High_stillDirector Michael Schultz and Co-Producer Gloria Schultz are scheduled to be present.

Michael Schultz’s 1975 classic Cooley High embodies the youth culture of the hip-hop music that was preparing to blossom, following the film’s release. Follow the misadventures of Preach and Cochise as the pair maneuver through a series of situations around Chicago and learn more about life in the process.

Why We Make Movies: An Expert Workshop with Michael Schultz
Friday, November 9 | 10:30 a.m. | Radio-TV Building Studio 5 (Free, but RSVPs required)

Filmmaker Michael Schultz will teach an expert workshop hosted by The Media School, the BFC/A, and the IU Cinema.

Schultz directed 12 feature films between 1970 and 1990. He’s also worked extensively in television, lending his directing hand for episodes of popular series such as Black-ish, The O.C. and Arrow, as well as made-for-TV movies.

Michael Schultz, Jorgensen Guest Filmmaker program
Friday, November 9 | 7:00 – 8:30 p.m. | IU Cinema (Free, no ticket required)

Michael_schultz_portraitBorn in Milwaukee, Michael Schultz, is a prolific and award-winning filmmaker. Following his debut as a stage manager for The Old Glory (1964), which featured Roscoe Lee Browne in the role of Babu, Schultz went on to manage and direct at least 20 other theatrical performances from 1964–74. In 1972, he began working in television and film, directing both Together for Days (aka Black Cream) and To Be Young, Gifted, and Black, a biography on LorraineHansberry. These were followed by Honey Baby, Honey Baby (1974) and then a string of hit films, including Cooley High (1975), Car Wash (1976), The Last Dragon (1985), Krush Groove (1985), and many others. He has also worked on over 40 television series such as Starsky and Hutch, Ally McBeal, and Black-ish. Schultz was inducted into the Black Filmmakers Hall of Fame (BFHFI) in 1991. His other awards include the Cannes Technical Grand Prize for Car Wash and Best Film from the American Black Film Festival and Black Reel Awards for Woman Thou Art Loosed (2004).

Krush Groove (1985) screening / directed by Michael Schultz
Friday, November 9 | 10:00 – 11:37 p.m. | IU Cinema (Free, but ticketed)

Krush_Groove_stillIn his book Hip Hop America, music critic Nelson George writes “ … there was no doubt in my mind that hip-hop was a coming cultural force. In 1982 this was far from conventional wisdom.” If in 1982 the staying power of hip-hop was not yet known, then Michael Schultz’s 1985 Krush Groove serves as filmic oracle for the enduring nature of America’s most popular musical genre and the characters within it.

Car Wash (1976) screening / directed by Michael Schultz, produced by Michael and Gloria Schultz
Saturday, November 10 | 4:00 – 5:37 p.m. | IU Cinema (Free, but ticketed)

Car_Wash_stillDirector Michael Schultz and Co-Producer Gloria Schultz are scheduled to be present.

You can’t read the title and not hear the Rose Royce song of the same name. Car Wash is an irreverent comedy, built upon the sounds of disco. A bricolage of characters come to life on the screen, presenting moments that feel both hopeless and hysterical. The first of its kind during the decade, Michael Schultz created a film that would later become a cult classic synonymous with an era of motion and movement.

The Last Dragon (1985) screening / directed by Michael Schultz
Wednesday, August 15 | 9:00 p.m. (gates open at 7:00 p.m.) | Starlite Drive-In | News Release

The Black Film Center/Archive and the IU Cinema are celebrating the life and career of filmmaker Michael Schultz on his 80th birthday with “Young, Gifted, and Black: Michael Schultz Celebrates 50 Years in Stage and Screen,” a five-part film series. The first screening, The Last Dragon (1985), is at 9 p.m. Aug. 15 at Starlite Drive-In, 7640 S. Old State Road 37.

Gates open at 7 p.m. The event is free, and tickets are not required.


Before Representation

This fall we are hosting a three-part lecture series on race and media Before Representation. Since discussions on this topic typically feature discussions of stereotypes, actors and directors we wondered what happens before representation? What does the camera see when it sees dark skin tones? How do manufacturers and marketers of “flesh” colored products picture their customers? What do we talk about when we talk about race? Where do archives and libraries fit into all this? Our visiting scholars, communications professor Dr. Lorna Roth, sociologist Dr. Crystal Fleming, and historian Dr. Melanie Chambliss, each take a different disciplinary approach to unveiling the often invisible and unspoken racialized assumptions determine how we look at ourselves and each other and shape our knowledge of the world.

Dr. Melanie Chambliss - Saving the Race: Black Archives, Black Liberation,
and the Shaping of African American History

Tuesday, November 13 | 1:00-2:15 p.m. | Hodge Hall 2083 | News Release

Melanie Chambliss is an Assistant Professor in the Humanities, History, and Social Sciences department at Columbia College Chicago. She earned her Ph.D. in African American Studies and American Studies from Yale University in 2016. Her in-progress manuscript “Saving the Race: Black Archives, Black Liberation, and the Shaping of African American History” explores the founding and impact of early twentieth century black archives. The wide use of such cultural institutions amongst scholars, writers, students, artists, and community members, Dr. Chambliss argues, helped to define what African American history was and what it would become as a subject in mainstream culture and a field in academia. Her project emphasizes the work of trained librarians like Dorothy Porter, Ernestine Rose, and Vivian Harsh who enabled the public’s use of such collections. And by viewing the story of African American history’s development from the other side of the librarian’s desk, Dr. Chambliss’s work reveals the personal, political, and professional concerns that shaped twentieth-century black historical consciousness. Her research has been supported by the Ford Foundation, the Black Metropolis Research Consortium, and the Beinecke Rare Book and Manuscript Library.

Dr. Crystal Fleming - How to Be Less Stupid About Race
Tuesday, October 9 | 1:00-2:15 p.m. | IU Cinema | News Release

Dr. Crystal Fleming, Associate Professor of Sociology and Africana Studies at the State University of New York, Stony Brook, offers key conceptual tools needed to recognize and unpack systemic racism and white supremacy in accessible language that will be useful for everyone. See the Kirkus review of her forthcoming Beacon Press book at: On October 10 at 10AM, Dr. Fleming will lead a Gallery Walk of the Out of Easy Reach exhibition at the Grunwald Gallery. Limit 20. Sign up at:

Copies of Fleming's How to Be Less Stupid About Race: On Racism, White Supremacy, and the Racial Divide (Beacon Press, 2018) and Resurrecting Slavery: Racial Legacies and White Supremacy in France (Temple University Press, 2017) will be available for purchase in the IU Cinema's lower lobby from 11:30 a.m.-3:00 p.m. Fleming will be available for signing following her talk as time permits.

Dr. Lorna Roth - Colour Balance: Race, Technologies, and "Intellegent Design"
Tuesday, September 25 | 1:00-2:15 p.m. | Hodge Hall 2083 | News Release

Dr. Lorna Roth, Professor Emeritus of Communication Studies at Concordia University examines how skin color has been represented in products and technologies over time. Note: Following her talk, Dr. Roth will be a guest of the Asian Culture Center for their Over a Cup of Tea roundtable 9/25 at 5PM for a presentation of her research on indigenous media in Canada. Roth will lead a seminar on some of her most recent research on imaging and skin tone 9/26 at 4PM at the BFC/A. Readings for the seminar will be circulated beforehand to those who sign up to attend.


Many thanks to our funding partners. This BFC/A lecture and conversation series is co-sponsored by The Office of the Vice President for Diversity, Equity, and Multicultural Affairs, the IU Office of the Bicentennial, the IU Eskenazi Museum of Art, The Media School, the IU Cinema, the IU School of Art, Architecture + Design, and the IU Asian Culture Center.


Spring 2018

Black Film: Nontheatrical

Black Film: Nontheatrical is a three-part series hosted by the BFC/A and the IU Libraries Moving Image Archive featuring archivists, museum specialists, and preservationists working specifically with nontheatrical black film collections.

Candace Ming - South Side Home Movie Project
Thursday, February 8 | 2:15 p.m. | IU Libraries Screening Room (Wells 048)

The South Side Home Movie Project is an initiative at the University of Chicago to collect, preserve, digitize, exhibit, and document home movies made by residents of Chicago’s South Side neighborhoods. Candace Ming will speak about the project’s growing archive and host an exclusive screening of films from the collection. Ming is a graduate of the Moving Image Archiving and Preservation program at New York University and has worked as a Public Records Officer for the New York Police Department and for the Museum of Modern Art.

Ina D. Archer, Smithsonian Institution - National Museum of African American History and Culture

Ina Archer is a filmmaker and visual artist whose multimedia works and films have been shown nationally. She was a Studio Artist in the Whitney Independent Study program, a NYFA Fellow, and a 2005 Creative Capital grantee in film and video. Prior to joining NMAAHC, Archer was adjunct faculty at Parsons School for Design. She is the former co-chair of New York Women in Film and Television's Women's Film Preservation Fund. Archer earned a BFA in Film/Video from the Rhode Island School of Design and an M.A. in Cinema Studies at NYU. She studied Moving Image Archiving and Preservation at UCLA (MIAS) and NYU (MIAP). She is also a contributor to Film Comment and has written for Framework and Black Camera.

What are we looking at? The (black) nontheatrical gaze
Thursday, March 22 | 2:15 p.m. | IU Libraries Screening Room (Wells 048)

What was I looking at? Recovering the neglected Archina Studio
Thursday, March 22 | 6:00 p.m. | IU Libraries Screening Room (Wells 048)

Black Film: Nontheatrical presentation:

Shani Miller, UCLA Ethnomusicology Archive, April 26.


Unearthing early roots of Jordan Peele’s political horror film Get Out (2017), Race Swap presents three cult films which similarly explore and exploit racial ideology. Combination science fiction, horror, and exploitation comedy films, they play on the supposedly irreducible fact of racial groups and the disgust/desire to get inside the body of the other. And yet in some ways, they picture a proposed new race relations in post-civil rights America that is imperfect and unsettling, but united nonetheless. Post-film discussions will follow all screenings. This partnership is supported through IU Cinema’s Creative Collaborations program.

This series is sponsored by the Black Film Center/Archive, Center for Research on Race and Ethnicity in Society, Cinema and Media Studies, and IU Cinema. Screenings are free, but ticketed.

Watermelon Man (1970, dir. Melvin Van Peebles)
Friday, January 12 | 9:30 p.m. | IU Cinema

Melvin Van Peebles’ sole studio film, Watermelon Man, was produced in 1970 between his landmark independent films, The Story of a Three-Day Pass (1968) and Sweet Sweetback’s Baadasssss Song (1971). In a comic hybrid of The Metamorphosis and Black Like Me, white insurance salesman Jeff Gerber (Godfrey Cambridge) wakes up to find that he’s turned into an African American insurance salesman overnight. Features Van Peebles’ 1970 single “Love, That’s America,” embraced by Occupy Wall Street over 40 years later. 16mm archival print courtesy of Black Film Center/Archive

The Thing with Two Heads (1972, dir. Lee Frost)
Friday, February 2 | 9:30 p.m. | IU Cinema

American International Pictures quickly followed its 1971 feature, The Incredible 2-Headed Transplant, with a new angle for the emerging Blaxploitation market, summed up in the tagline “They transplanted a WHITE BIGOT’S HEAD onto a SOUL BROTHER’S BODY!” In Lee Frost’s The Thing with Two Heads, white transplant surgeon Dr. Maxwell Kirshner (Ray Milland) and African American convict Jack Moss (Rosy Grier) go on the run together after Kirshner, faced with inoperable cancer, grafts his head onto Moss’ body. (35mm Presentation)

Change of Mind (1960, dir. Robert Stevens)
Friday, February 23 | 9:30 p.m. | IU Cinema

Buoyed by an original score by Duke Ellington, Robert Stevens’ Change of Mind introduces us to white district attorney David Rowe in the operating room as his brain is transplanted into the skull of African American Ralph Dickson (Raymond St. Jacques). Rowe/Dickson’s transformation challenges the women in his life—both Rowe’s wife (Susan Oliver) and Dickson’s widow (Janet MacLachlan)-—as he himself is challenged on the job as district attorney overseeing a racially charged murder case involving Sheriff Webb (Leslie Nielsen).(Digital Presentation)

Curator Greg de Cuir

Greg de Cuir Jr. is the selector for Alternative Film/Video and Beldocs (both in Belgrade, Serbia). As an independent moving image curator, he has organized programs for the Institute of Contemporary Arts in London; the National Gallery of Art in Washington, D.C.; the Museum of Modern Art in Warsaw; Los Angeles Filmforum; goEast Wiesbaden; Experiments in Cinema in Albuquerque; and other institutions. He is the managing editor of NECSUS: European Journal of Media Studies and has published writing in Cineaste, Jump Cut, Festivalists, Art Margins, La Furia Umana, Politika, and other journals and volumes. De Cuir received his DPhil from the Faculty of Dramatic Arts at University of Arts Belgrade.

The Black Film Center/Archive welcomes Greg de Cuir for a workshop and screening series organized around de Cuir's week-long research residency at the BFC/A. This series is sponsored by the Black Film Center/Archive, College Arts and Humanities Institute, Underground Film Series, Center for Documentary Research and Practice, Cinema and Media Studies, and IU Cinema.

Avant-Noir: Experimental Media from the African Diaspora (Shorts, 2006-2013, Various Directors)
Friday, January 19 | 6:30 p.m. | IU Cinema
In presenting his first Avant-Noir program in 2014, curator Greg de Cuir Jr. conceived of it as “an intervention into the status quo of alternative film and video curating.” This second volume continues his project with a collection of short films and videos from young and established artists both of African and non-African descent, who together play with identity and the notion of the personal as political; employ performance as a means to narrate social reality; and utilize archival footage to reconstruct the cinematic. (HD/16mm Presentation) Curator Greg de Cuir Jr and author Michael Boyce Gillespie (Film Blackness) are scheduled to be present.

Q&A on Curating Film
Monday, January 22 | 11:30 a.m. - 12:45 p.m. | Phyllis Klotman Room (LI044B) at the BFC/A in Wells Library

At a workshop event for graduate students and undergraduates in The Media School and across the College of Arts and Sciences, de Cuir will discuss his professional practice as a cinema curator. The workshop is aimed at educating students on the variety of careers that are possible in the humanities, including curator and archivist. Lunch provided.

Show & Tell Workshop
Friday, January 26 | 1:00 p.m. | Auxiliary Library Facility, 851 North Range Road

Greg de Cuir’s research residency will focus on material objects and memorabilia in the Black Filmmakers Hall of Fame Collection at the BFC/A. In a workshop presentation, de Cuir will close the week by sharing his findings and inspirations with the campus community in an early-stage presentation of his research. Space is limited for this event. RSVP to with subject line “Greg de Cuir Show & Tell.”


Cheryl Dunye: Blurring Distinctions

Cheryl Dunye emerged as part of the New Queer Cinema movement of young film and video makers in the 1990s. Dunye’s work is defined by her distinctive narrative voice. Often set within a personal or domestic context, her stories foreground issues of race, sexuality, and identity. Dunye’s narratives are peppered with deconstructive elements with characters directly addressing the camera and making ironic references to the production itself. The effect of these devices, and of Dunye's appearance in her films and tapes as herself, is to blur the distinctions between fiction and real life. Dunye has made over 15 films including Mommy is Coming, The Owls, My Baby's Daddy, and HBO's Stranger Inside, which garnered her an Independent Spirit Award nomination for best director. Her debut feature, The Watermelon Woman, was awarded the Teddy at the Berlinale in 1996 and was recently restored by Outfest's UCLA Legacy Project for the film's 20th anniversary. Dunye has received numerous awards and honors for her work including a 2016 Guggenheim Fellowship. She is also a member of the Academy of Motion Picture Arts and Sciences. Presently, Dunye is a professor in the School of Cinema at San Francisco State University, and her most recent directorial work includes episodes of Queen Sugar, The Fosters, and Claws.She is currently at work on her next film, Black is Blue, a feature-length adaptation of her 2014 short film.

This series is sponsored by IU Cinema, Black Film Center/Archive, and Bloomington PRIDE.

The Early Works of Cheryl Dunye (1990-1994, dir. Cheryl Dunye)
Sunday, January 21 | 6:30 p.m. | IU Cinema

Vilified by conservatives in Congress, defended by major newspapers, and celebrated by audiences and festivals around the world as one of the most provocative, humorous, and important filmmakers of our time, Cheryl Dunye practically invented a new form of cinema—call it ‘Dunyementary.’ Using a mixture of narrative and documentary techniques, ‘Dunyementary’ challenges social and cultural norms through a sharply funny and reflexive lens. Never scholarly or didactic, Dunye appreciates the value in entertaining viewers. Her acclaimed first feature The Watermelon Woman (1996) introduced Cheryl to wider audiences, who fell in love with her self-deprecating and insightful wit. But what came before this modern-day classic? Presented here are the films that started it all, Dunye’s early works that gave birth to an extraordinary and original filmmaking talent. Made with great creativity on often-miniscule budgets, they represent the first chapter of the Cheryl Dunye oeuvre. Short films in this program include Greetings from Africa (1994), The Potluck and the Passion (1993), An Untitled Portrait (1993), Vanilla Sex (1992), She Don’t Fade (1991), and Janine (1990). (Digital Presentation)

The Watermelon Woman & Black is Blue (1996/2014, dir. Cheryl Dunye)
Monday, January 22 | 7:00 p.m. | IU Cinema

Set in Philadelphia, The Watermelon Woman is the story of Cheryl (Cheryl Dunye), a 20-something black lesbian struggling to make a documentary about Fae Richards—a beautiful and elusive 1930s African American film actress popularly known as “the Watermelon Woman.” While uncovering the meaning of Richards’ life, Cheryl experiences a total upheaval of her own personal life. Her love affair with Diana (Guinevere Turner), a beautiful white woman, and her interactions with the gay and black communities are subject to the comic, yet biting criticism of her best friend Tamara (Valarie Walker). Meanwhile, each answer Cheryl discovers about Richards evokes a flurry of new questions about herself and her own future. At the film’s conclusion, the Watermelon Woman is clearly a metaphor for Cheryl’s search for identity, community, and love. Recently celebrating its 20th anniversary, The Watermelon Woman was meticulously restored by 13th Gen, the Outfest Legacy Project, UCLA Film and Television Archive, the Toronto International Film Festival, and First Run Features. The restoration was recently acquired by the Museum of Modern Art. Preceding The Watermelon Woman is Dunye’s short film Black is Blue (21 min.), the story of Black, an African American Transman, who works as a security guard inside an apartment complex in present day Oakland, Calif. On the night of a ‘stud party,’ Black is forced to confront his pre-transition past, struggling to make his outside match his inside. (HD/2K DCP Presentation) Director Cheryl Dunye is scheduled to be present.

Jorgensen Guest Filmmaker program: Cheryl Dunye
Tuesday, January 23 | 3:00 p.m. | IU Cinema

Cheryl Dunye Presents: Portait of Jason (1967, dir. Shirley Clarke) & Pink Triangles (1982, prod. Cambridge Documentary Films)
Tuesday, January 23 | 7:00 p.m. | IU Cinema

Cheryl Dunye has personally selected two film titles to screen from Indiana University’s film archival holdings. From the Black Film Center/Archive’s collection, Portrait of Jason is a film that plays with complexities. On the night of December 2, 1966, director Shirley Clarke and a tiny crew convened in her apartment at the Hotel Chelsea to make a film. There, for 12 continuous hours they filmed the one-and-only Jason Holliday as he spun tales, sang, donned costumes, and reminisced about good times and bad behavior as a gay hustler, sometime houseboy, and aspiring cabaret performer. Now, almost 50 years after it was filmed, Portrait of Jason is a potent reminder of what the world was like for Black gay men in the heat of the Civil Rights movement and before the Stonewall Uprising. Holliday talks about serving time at New York’s Riker’s Island jail after propositioning (or being propositioned by) an undercover cop. And his observations on the casual racism he experienced are funny, stinging, and painful.

 Preceding Portrait of Jason will be Pink Triangles (30 min.), from the Kinsey Institute’s film archive. Pink Triangles, an educational video about homophobia and oppression, was produced by a group of nine women and men, both gay and straight, who work as health workers, teachers, social workers, mental-health counselors, historians, and in photography, print and film. This film investigates the common roots of the oppression of all of those who are defined as out of the mainstream. Pink Triangles was one of the very first films to confront the growth homophobia in American life and served to alert audiences to the danger of scapegoating and violence that can occur in any society. Although the film is specifically about homophobia, it is also about the very nature of discrimination and oppression, examining both historical and contemporary patterns of persecution in which racial, religious, political, and sexual minorities are singled out as “different,” “not normal” or “inferior” and become the victims of the scapegoat mentality of societies under stress. (2K DCP Presentation) Cheryl Dunye is scheduled to be present.

Fall 2017


Eventual Salvation (2008, dir. Dee Rees)
Friday, November 10 | 3:00 p.m. | Franklin Hall Screening Room 304C

Founded in 1847 as a home for former African-American slaves, the West African nation of Liberia has welcomed generations of expatriate Americans fleeing racism. One such immigrant was Earnestine “Amma” Smith, who settled in the capital, Monrovia, in 1958. An educator and landowner, Amma fled her new home during the recent deadly civil wars. Smith’s granddaughter, documentary filmmaker Dee Rees, accompanies Amma on her return to a new Liberia, now governed by Africa’s first woman president, as she attempts to rebuild her life. Featuring cinematography by Bradford Young, who also collaborated with Dee Rees on her 2011 feature, Pariah.

This rare screening of Dee Rees's first documentary feature is presented by the Black Film Center/Archive and the IU Libraries' Liberian Collections in anticipation of the November 2017 IU Cinema series, Dee Rees: Choosing The Hard Things. Special thanks to Mireille Djenno, Garrett Bird, Craig Kestel, and Dee Rees.




The Scar of Shame/Renèe Baker Project is a commissioned world premiere of a Renèe Baker score for The Scar of Shame, a 1927 silent feature produced by The Colored Players Film Corporation of Philadelphia. Motifs in Baker’s score are inspired by the work of Phil Moore, most prominently his 1939 Suite for Strings composition. Moore was a largely forgotten jazz pianist, orchestral arranger, band leader, and recording artist whose collection of papers and scores are held within the Black Film Center/Archive at Indiana University. Baker has an international reputation for her compositions and is known for bringing new life and audiences to the films of early Black filmmakers. The project is presented by IU Cinema, Black Film Center/Archive, Office of the Vice Provost for Research, Collaborative Research, and Creative Activity Fund, the Film Scoring for Visual Media program in the Jacobs School of Music, College Arts and Humanities Institute, and The Media School.

The Scar of Shame (1927, dir. Frank Peregini)
Saturday, November 4 | 7:00 p.m. | IU Cinema
The film will be presented with a live, world-premiere performance of a new orchestral score by Renèe Baker.

A gifted pianist (Harry Henderson) falls in love with a common woman (Lucia Lynn Moses) and saves her from a life of poverty. However, he is reluctant to let her meet his mother out of fear that she will spurn his bride, because of her lowly origins. The Scar of Shame is a still-relevant and fascinating examination of prejudices of class within African American society of the 1920s. Print courtesy of and preserved by The Library of Congress. (35mm Presentation)

Renèe Baker—Composer
Renèe Baker, founding music director and conductor of the internationally acclaimed Chicago Modern Orchestra Project, has composed more than 2,000 works for ensembles, including numerous commissioned pieces for the Chicago Sinfonietta and the Chicago Sinfonietta Chamber Ensemble, Berlin International Brass, Joffrey Ballet Chamber Series, and many others. In composing for silent cinema, she has created cutting-edge original scores for more than 100 films and performed her work at live screening events with orchestras and ensembles across the globe. Baker’s film-score recordings include Body and Soul (1925), Broken Blossoms (1919), Woman of Ryazan (1927), An Orphan (1929), A Natural Born Gambler (1916), The Blue Bird (1918), and Haxan (1922), to name a few. More information at



Medan vi lever/While We Live (2016, dir. Dani Kouyaté)
Thursday, September 28 | 7:00 p.m. | IU Libraries Screening Room

Medan vi lever is a story of a maternal bond, and the dissonance created by geography and generation. Kandia (Joshette Bushell-Mingo) has lived in Sweden for over 30 years, and wishes to return to her native land, Gambia. Her son, Ibbe (Adam Kanyama) is an aspiring hip-hop musician, and is beginning to make breakthrough in the industry. Reluctant to return home, this creates strife between mother and son. Upon returning home, the two find that things were not what they expected them to be. Director Dani Kouyaté is expected to be present for this screening. The screening event will be followed at 9:00 p.m. by a conversation between Kouyaté and Jane Bryce, University of the West Indies.

This free program is presented by Beth Buggenhagen, Associate Professor of Anthropology, and the IU African Studies Program, with support from the Black Film Center/Archive, Black Camera, the Department of Anthropology, the Department of History, the Department of French & Italian, and the Institute for Advanced Study.


Teach Us All

(2016, dir. Sonia Lowman)
Monday, September 25 | 6:30 p.m. | IU Libraries Screening Room

In her first foray into filmmaking, Sonia Lowman analyzes the underpinnings of de facto segregation in America’s school system, and how it is creates a larger educational gap between students of color and white students. Juxtaposing the integration of Central High School in Little Rock, Arkansas, 60 years ago against contemporary schools, Lowman showcases urgency for true integration in a rapidly globalizing world. Teach Us All not only highlights the racial issues surrounding the American education system, but also provides insight on how student activism can affect change within a school’s community for the better. Distributed by Ava DuVernay's ARRAY.

IU School of Education Associate Professor Dionne Danns will introduce the film and lead a discussion after the screening.

This free program is sponsored by the Black Film Center/Archive and presented with #DirectedbyWomen. Reserve seats online at


The Revival: Women and the Word

(2016, dir. Sekiya Dorsett)
Thursday, September 14 | 7:00 p.m. | IU Libraries Screening Room

The Revival: Women and the Word is a documentary that tells the story of the formation of THE REVIVAL, a salon-styled poetry tour and space created for and by queer women of color to exchange and express their artistic aims. Directed by Sekiya Dorsett, the film follows Jade Foster, founder of THE REVIVAL, as well as several other prominent Black, queer artists during the inception of the tour. Through expositional interview and performance footage, the film creates an atmosphere that helps to examine intersections of identity such as race, gender and sexuality.

This free screening program is presented by the Black Film Center/Archive, IU Libraries Media Services, #DirectedbyWomen and Bloomington PRIDE. Reserve seats online at

Summer 2017

The House on Coco Road

(2016, dir. Damani Baker)
Thursday, June 22 | 7:00 p.m. | IU Libraries Screening Room

"Set amidst the Grenada Revolution, THE HOUSE ON COCO ROAD documents one family’s flight from racial tensions in 1980’s Oakland, California, only to find themselves settled directly in the path of a U.S. military invasion. First hand accounts from activists Angela Davis, Fania Davis and Fannie Haughton weave together director Damani Baker’s family portrait of utopian dreams, resistance and civil unrest with a film score composed by music luminary Meshell Ndegeocello. The film held its world premiere at the 2016 Los Angeles Film Festival." -

"Damani Baker offers a moving personal and historical account of how he and his family were caught up in the 1983 U.S. invasion of Grenada. The result is a fascinating and under-reported chapter in the never-ending struggle for justice on behalf of black men and women worldwide, as well as a scalding appraisal of Reagan-era racial attitudes at home and abroad." - Los Angeles Times

This free, one-night screening is presented by the BFC/A with ARRAY. (DCP Presentation)

IU Cinema presents: Strong Island

(2017, dir. Yance Ford)
Sunday, September 17 | 3:00 p.m. | IU Cinema

Catalyzed by personal tragedy, Strong Island is story of the Ford family, told through a lens of history and migration. The promise of safety from racism in a middle-class suburb sets the backdrop for this documentary, an appropriate setting for the film’s exploration of the idea of falsehoods. Equal parts stunning and wrenching, the film highlights how groups cope with racial injustice rooted in history, as well as the frustration created by silence from the majority.

Presented by IU Cinema. $4 all tickets. For more information, visit the IU Cinema site.


Spring 2017

Rahsaan Roland Kirk: The Case of the Three Sided Dream

(2014, dir. Adam Kahan)
Sunday, March 26 | 3:00 p.m. | IU Cinema

This documentary is an absorbing look at a seemingly superhuman musical force, Rahsaan Roland Kirk (1935–77), who wouldn’t even let partial paralysis keep him from pursuing what he called “The Religion of Dreams.” He was a warrior against racial injustice and an advocate for people with disabilities. Kirk, who could play three horns at once, performed his very last concert on the IU–Bloomington campus. The film is packed with electrifying archival footage of Kirk and his music, intimate interviews, and inspired animated sequences. This screening is sponsored by WFHB Community Radio, the Black Film Center/Archive, the IU School of Public Health, and IU Cinema. (2K DCP Presentation)

Black History Month screening: Agents of Change

Agents of Change (2016, dir. Frank Dawson and Abby Ginzberg)
Friday, February 24 | 12:00 p.m. | Libraries Screening Room

In observation of the 2017 Black History Month theme of "The Crisis in Black Education," the Black Film Center/Archive presents a free screening of Agents of Change.

During the late 1960s, as Civil Rights and anti-Vietnam War demonstrations made national headlines, movements erupted for racial equity and meaningful education on college campuses throughout the United States. Agents of Change examines the conditions at these institutions that led to tumultuous protests at San Francisco State (1968) and Cornell University (1969). Demands for Black and Ethnic Studies programs became a clarion call across the country. The events come to life through extraordinary archival footage and the untold stories of the young men and women who were at the forefront of those transformative efforts. -California Newsreel

"A critically important must-see film for faculty, students and community members interested in how activism transformed the college landscape in previous decades and why social justice and racial equality are still such urgent needs today."
-Joseph F. Jordan, Director, Stone Center for Black Culture and History, University of North Carolina-Chapel Hill

Dany LaferriÈre: An American Journey

Dany Laferrière is one of today’s most original writers in French, rooted both in Haiti and Quebec, and only the second Black writer at the prestigious Académie Française in Paris. Laferrière, a collaborator in these three films centered on his work, tells stories of America as a region where the scars of colonialism are evident still in the social and racial hierarchies born out of the growing global economy. The films address issues such as prostitution, sex tourism, and the lasting effects of the Duvalier dictatorship on Haitian society. This series is curated by the Center for Latin American and Caribbean Studies in co-sponsorship with the Creative Writing Program, the Department of French and Italian, the Creole Institute, the Black Film Center/Archive, the Department of Comparative Literature, and IU Cinema. All screenings are free, but ticketed.

Vers Le Sud (Heading South) (2005, dir. Laurent Cantet)
Monday, February 6 | 7:00 p.m. | IU Cinema

Three middle-aged women from the U.S. and Canada travel to Haiti in the late 1970s for a holiday of sun and sex with Haitian young men. This time around, however, their young lovers become embroiled in a conflict with the violent Duvalier regime, with devastating consequences. The film, featuring Charlotte Rampling in one of the lead roles, is one of the most moving and frankest portraits of sex tourism in the region and has received two awards at the Venice Film Festival. In French and English with English subtitles.

Le goût des jeunes filles (On the Verge of a Fever) (2004, dir. John L'Ecuyer)
Sunday, February 12 | 3:00 p.m. | IU Cinema

The 15-year old Fanfan has to hide for a weekend at the house of his beautiful neighbor, a prostitute with the Tonton-Macoute. Set in Port-au-Prince during the Duvalier dictatorship, the film is a coming of age story, showcasing the vulnerability of women and children under a violent regime, with Fanfan learning to navigate treacherous territory. In French with English subtitles.

Jorgensen Guest Filmmaker Lecture: Dany Laferrière
Thursday, February 16 | 3:00 p.m. | IU Cinema

La dérive douce d’un enfant de Petit-Goâve (2000, dir. Pedro Ruiz)
Thursday, February 16 | 7:00 p.m. | IU Cinema

This documentary features Dany Laferrière on a journey to the places that have shaped his life, from Montréal, Paris, New York, and Port-au-Prince back to the mythical Haitian fisher village of his childhood, Petit-Goâve. It includes encounters with major Caribbean literary figures such as Edwidge Danticat, Frankétienne, and Pedro Juan Gutiérrez and presents a reflection on the Haiti of today and yesterday as much as a fascinating cinematic journey, leading us into the heart of the writer’s imagination. In French with English subtitles. Dany Laferrière is scheduled to be present.

RenÉe Baker: Composing for the Silent Cinema

Renèe Baker, founding music director and conductor of the internationally-acclaimed Chicago Modern Orchestra Project, has composed over two thousand works for ensembles, including numerous commissioned pieces for the Chicago Sinfonietta and the Chicago Sinfonietta Chamber Ensemble, Berlin International Brass, Joffrey Ballet Chamber Series, and many others. In composing for silent cinema, Ms. Baker has created cutting- edge original scores for more than 100 films and performed her work at live screening events with orchestras and ensembles internationally. In this screening and workshop series, Ms. Baker will visit the intimate Libraries Screening Room to offer screenings of three films featuring her recorded scores and to invite discussion of her philosophy, her artistic choices, and her process and practice in composing for the silent cinema.

All events take place in the Libraries Screening Room, Room 048, Herman B Wells Library, ground floor. Screenings are free, but because seating is limited, please RSVP to This series is presented by the Black Film Center/Archive. Special thanks to Jamie Thomas Baldys & Andy Uhrich of the Indiana University Libraries Moving Image Archive. All film scores composed by Renèe Baker, composer/conductor; recorded by Chicago Modern Orchestra Project; released by Dirigent Media/Wabi House Media, 2016.

Workshop: A PAGE OF MADNESS (1926)
Tuesday, February 14 | 12:00 p.m. | Libraries Screening Room

Japanese director Teinosuke Kinugasa’s avant-garde film was lost for 45 years before its rediscovery in 1971. Ms. Baker has composed two distinct scores for this film and will guide the audience through her artistic process while running one version intermittently throughout this workshop/screening presentation.

THE GOLEM (1920)
Wednesday, February 15 | 12:00 p.m. | Libraries Screening Room

In this story from Jewish legend, a clay figure is brought to life by a 16th-century rabbi to protect the Jews of Prague from persecution.  Directed by Paul Wegener and Carl Boese. This screening will be followed by a discussion with Ms. Baker.

Friday, February 17 | 1:00 p.m. | Libraries Screening Room

In the final event of the series, Ms. Baker will present her score for Maurice Tourneur’s fairy tale of two children’s search for the elusive blue bird of happiness. Following THE BLUE BIRD will be a screening of A PAGE OF MADNESS featuring the second of Ms. Baker’s two scores for that film.

At the River I Stand: Reclaiming MLK

At the River I Stand (1993, dir. David Appleby, Allison Graham, and Steven Ross)
Friday, January 20 | 12:30 p.m. | Ivy Tech - John Waldron Arts Center, Room 103, 122 S. Walnut St.

Memphis, Spring 1968 marked the dramatic climax of the Civil Rights movement. At the River I Stand skillfully reconstructs the two eventful months that transformed a strike by Memphis sanitation workers into a national conflagration, and disentangles the complex historical forces that came together with the inevitability of tragedy at the death of Dr. Martin Luther King, Jr. This 58-minute documentary brings into sharp relief issues that have only become more urgent in the intervening years: the connection between economic and civil rights, debates over strategies for change, the demand for full inclusion of African Americans in American life and the fight for dignity for public employees and all working people. - California Newsreel

The BFC/A presents this screening with professors Alex Lichtenstein (History) and Joe Varga (Labor Studies) as part of Bloomington's Inaugurate the Revolution program. A discussion with Lichtenstein and Varga will follow.

Jessie Maple's Twice as Nice

Twice as Nice (1989, dir. Jessie Maple)
Sunday, January 29 | 3:00 p.m. | IU Cinema
Jessie Maple’s second feature, Twice as Nice, follows twins Caren and Camilla Parker, both star players on a college women’s basketball team energized by the prospect of a first female pick in the upcoming “MBA” draft. Maple’s humanist concern with the strength of community and family emerges again here, as in her first feature, the groundbreaking Will (1981). Maple’s cast features legends of NCAA, Olympic, and WNBA basketball, including Cynthia Cooper and twins Pamela and Paula McGee. Preserved by the Black Film Center/Archive with support from the National Film Preservation Foundation. This screening is sponsored by the Black Film Center/Archive, The Media School, the Department of African American and African Diaspora Studies, and IU Cinema. Director Jessie Maple and Co-Producer/Cinematographer Leroy Patton are scheduled to be present.

DJ Spooky That Subliminal Kid aka Paul D. Miller

DJ Spooky is a composer, multimedia artist, and writer whose work immerses audiences in a blend of genres, global culture, and environmental and social issues. In 2012, he was the first artist-in-residence at the Metropolitan Museum of Art in NYC and his work as a media artist has appeared in the Whitney Biennial, the Venice Biennial for Architecture, the Andy Warhol Museum, and many other museums and galleries around the world. As a writer, Miller’s award-winning book Rhythm Science was published by MIT Press 2004 and was followed in 2008 by Sound Unbound, an anthology about electronic music and digital media. The Book of Ice, an experiential visual and acoustic portrait of the Antarctic, was published in 2011 by Random House. He has also produced and composed work for Yoko Ono, Thurston Moore, and scores of artists and award-winning films.

Events are sponsored by The Burroughs Century, Ltd., College Arts and Humanities Institute, The Media School’s cinema and media arts program, The Media School, Cultural Studies Program, the Black Film Center/Archive, and IU Cinema.

Rebirth of A Nation (1915/2004, dir. D.W. Griffith and DJ Spooky That Subliminal Kid)
Thursday, February 2 | 7:00 p.m. | IU Cinema

DJ Spooky’s Rebirth of a Nation is the second event in Wounded Galaxies 1914—1968, a series that highlights collage, détournement (shifting things from their original context to give them new meaning), recombination, and radical political aesthetics in the 20th century. DJ Spooky ‘de-turns’ D.W. Griffiths’ racist epic The Birth of a Nation (1915), using radical aesthetics to make its own pointed and profound commentary on race-hatred in the United States. The film is recut and re-edited so that our attention is drawn to raced elements in the frame. And DJ Spooky has drawn on the film and used graphics not so much to de-face as to alterface a text. It is a contemporary example of the Situationist tactic of détournement, as well as a powerful intervention in a raced, racist, and racially biased film history. The film is presented with a recorded score by DJ Spooky and the Kronos Quartet. Paul D. Miller is scheduled to be present. (2K DCP Presentation)

Jorgensen Guest Filmmaker Lecture: DJ Spooky That Subliminal Kid aka Paul D. Miller
Friday, February 3 | 3:00 p.m. | IU Cinema

This event will be part lecture and part moderated conversation, led by Dr. Maria Hamilton Abegunde, Director of the Graduate Mentoring Center, The University Graduate School, Indiana University Bloomington.

Fall 2016

Julie Dash: Daughters of the Dust 25th Anniversary

Julie Dash’s rich filmography explores the spectrum of Black women’s experience across wide swaths of geography and time. The year 2016 marks the 25th anniversary of her groundbreaking film Daughters of the Dust, and the Black Film Center/Archive is excited to sponsor a screening of the newly released digital restoration, along with a selection of early short films from her time as part of the UCLA-based Black cinema revolution known today as the L.A. Rebellion. This series is sponsored by the Black Film Center/Archive, The Media School’s cinema and media arts program, the Department of African American and African Diaspora Studies, and IU Cinema.

Four Women (1975, dir. Julie Dash)
The Diary of an African Nun (1977, dir. Julie Dash)
Illusions (1982, dir. Julie Dash)
Thursday, December 8, 2016 | 7:00 p.m. | IU Cinema

In the late 1960s, Black students at the UCLA film school began to explore themes beyond the canon. Dash created her earliest short films then, each of which explores different but intersecting aspects of Black womanhood. Four Women (1975) experiments with music, dance and identity; The Diary of an African Nun (1977) contemplates complexities within spiritual relationships; and Illusions (1982) tells the story of a Black woman who passes for white to pursue a career in 1940s Hollywood. 35mm print of The Diary of an African Nun is provided courtesy of UCLA Film and Television Archive. Preservation funded in part with a grant from the National Film Preservation Foundation. Director Julie Dash is scheduled to be present. (16mm/35mm Presentation)

Jorgensen Guest Filmmaker Lecture: Julie Dash
Friday, December 9, 2016 | 3:00 p.m. | IU Cinema

Daughters of the Dust (1991, dir. Julie Dash)
Friday, December 9, 2016 | 6:30 p.m. | IU Cinema

Daughters of the Dust, the first feature film directed by an African American woman to receive theatrical distribution in the U.S., engrosses the viewer in early 20th-century Gullah life. The film follows three generations of Peazant Family women as they prepare to leave the island their ancestors were brought to as slaves over a century earlier for opportunities up north. The lyrical magic-realist qualities of the film meld with historic truths to create a sense of uncommon understanding. Director Julie Dash is scheduled to be present.(2K DCP Presentation)

#BlackPanthersMatter: The Black Panther Party at 50

Founded 50 years ago on October 15, 1966, the Black Panther Party for Self-Defense created the foundational iconography of Black radicalism in the United States. Their revolutionary aesthetics and self-controlled image established them in the nation’s eye: Black berets, Afros, leather jackets, and militarized organization. #BlackPanthersMatter brings together four films that highlight the depth behind the visuals, both by relating the Black Panthers outward to contemporary Black lives and by pointing the camera inwards at the emotional experiences of the movement’s founders. This series is sponsored by the Black Film Center/Archive, The Media School’s cinema and media arts program, the Department of African American and African Diaspora Studies, the Center for Documentary Research and Practice, and IU Cinema. Special thanks to Dorothy Berry and Brittany Friesner.

Panther (1995, dir. Mario Van Peebles)
with Off the Pig (1968, Newsreel Films)
Monday, October 17, 2016 | 7:00 p.m. | IU Cinema

Panther is an epic political film set against the explosive civil rights movement in Oakland, California, in 1968. Working from a script written by his father, Melvin Van Peebles, the director Mario Van Peebles said in 1995 that "one of the reasons I made the movie was to show kids today that social change could be made by young people...Huey was twenty-one when he started the Panthers. This was a time when youth were politically active." Preceding Panther (124 min.) will be a short film produced by Newsreel Films, Off the Pig (1968), which provides documentary footage of the movement’s organizers at the height of their controversy and notoriety. This rarely seen footage opens the door to the urgency of the Black Panthers’ “any means necessary” attitude.

The Black Power Mixtape 1967-1975 (2011, dir. Göran Olsson)
with May Day (1969, Newsreel Films)
Saturday, October 22, 2016 | 7:00 p.m. | IU Cinema

In The Black Power Mixtape 1967– 1975, director Göran Olsson collages historical footage and contemporary interviews. Olsson overlays film shot by Swedish journalists in the 1960s and ’70s—of revolutionaries like Angela Davis, Stokely Carmichael, and Bobby Seale—with commentaries from current artists and activists. The short film May Day (1969), produced by Newsreel Films, will precede the feature film. May Day documents a May 1, 1969, Black Panther rally with speeches from Kathleen Cleaver, Bobby Seale, and others, along with footage of both the police raid on Panther headquarters and the Panther’s Breakfast for the Children program.

Deborah Riley Draper: Untold African American Stories

Named by Variety as one of “10 Documakers to Watch” in 2016, the veteran advertising executive Deborah Riley Draper has launched her career as a documentary filmmaker with two features which present the perspectives of Black American cultural icons that have contributed to shaping American history, often in ways not yet recognized, from the impact of the first Black models in the world of high fashion to the early African American Olympians who inspired on the field and beyond. This series is sponsored by the Black Film Center/Archive, Themester at the College of Arts and Sciences, Elizabeth Sage Historic Costume Collection, Poynter Center for the Study of Ethics and American Institutions, National Sports Journalism Center, Center for Documentary Research and Practice, The Media School’s cinema and media arts program, the Department of History, and IU Cinema. Special thanks to Emma Young.

Jorgensen Guest Filmmaker Lecture: Deborah Riley Draper
Monday, October 10, 2016 | 3:00 p.m. | IU Cinema

Versailles '73: American Runway Revolution (2012, dir. Deborah Riley Draper)
Monday, October 10 | 7:00 p.m. | IU Cinema

Versailles ’73: American Runway Revolution recounts November 28, 1973, commemorated as one of the most explosive nights in contemporary fashion history. Deborah Riley Draper’s high-energy documentary highlights America’s and France’s longstanding battle for fashion world dominance, and how an ensemble of powerhouse Black models played a major role in ultimately amplifying America’s voice in the international fashion scene. Among its many honors, this film received the Best Documentary award in 2013 from the AfricanAmerican Film Critics Association. Director Deborah Riley Draper is scheduled to be present. (HD Presentation)

Olympic Pride, American Prejudice (2016, dir. Deborah Riley Draper)
Tuesday, October 11, 2016 | 7:00 p.m. | IU Cinema

Narrated by Blair Underwood, Olympic Pride, American Prejudice shares the stories of the 18 African American athletes on the U.S. team in the 1936 Summer Olympic Games in Berlin. This complicated narrative reckons with their burden of representing a Jim Crow America, as guests in Germany under Nazi rule, yet welcomed and celebrated by an international community of Olympic peers. Draper’s documentary chronicles these mostly unheralded heroes from the games to their return to America as influential figures fighting against unrelenting obstacles. Director Deborah Riley Draper is scheduled to be present.

Lecture: Dr. Gerald Butters, Aurora University

SHAFT is at the Roosevelt!: Race and Cultural Geography in Chicago's Loop, 1970-1975
Monday, October 3, 2016 | 5:45 p.m. | BFC/A's Phyllis Klotman Room (Wells 044B)

In the city of Chicago, the Loop has traditionally been the epicenter of the city. During the early 1970’s the major, first-run motion picture theaters were still located there. But during that time both the Loop and these theaters experienced hard times. The Loop faced many of the problems that decaying downtown regions experienced across the country in the mid-twentieth century. Downtown businesses became more dependent upon black clientele as timid white suburbanites ventured to the inner city only to go to work or for special occasions. I argue that motion picture theaters in Chicago’s Loop played a pivotal role in the later stages of the civil rights movement. As African Americans began to claim legal victories in the courts and through Congress, they began to contest other barriers. Motion pictures theaters were one of the primary sites of entertainment in Chicago’s Loop. Increasingly, African American audiences began to attend theaters there and claimed certain venues as black spaces. Managers and programmers noticed the expansion of black audiences. Black-themed and black-cast films began breaking box-office records in theaters that catered to African American audiences, foreverchanging Loop theaters.

Gerald Butters, Ph.D., is a professor of history at Aurora University. His areas of specialization are film history, U.S. social and cultural history, and gender and race studies. Dr. Butters is the author of From SWEETBACK to SUPER FLY: Race and Film Audiences in Chicago's Loop (2015) and a co-editor of the forthcoming Beyond Blaxploitation (2016), which is the first book-length anthology of scholarly work on Blaxploitation film, which “sustains the momentum that Blaxploitation scholarship has recently gained, giving the films an even more prominent place in cinema history.”



Sifting through the Ruins: The Pruitt-Igoe Myth

The Pruitt-Igoe Myth (2011, dir. Chad Freidrichs)
Sunday, September 11, 2016 | 3:00 p.m. | IU Cinema

Featuring personal testimonies from former residents and archival footage of St Louis’ iconic public-housing project, The Pruitt-Igoe Myth provides fresh insight into the mistakes and injustices surrounding urban housing in America. The narrative shifts attention beyond a modern architectural “mythos” to the complex social realities of everyday life in Pruitt, the public protests during its lifespan, and the aftermath of its demise. IU Alumnus and Professor of Urban History at The New School Joseph Heathcott, who appears in the film, is scheduled to be present.

Presented in conjunction with MSCH-V 334: Ethics in Ruins: Images and Aftermaths in the American Mediascape, Saul Kutnicki's Fall 2016 course focusing on the social presence and visual persistence of “ruins.” Sponsored by Eric Sandweiss and the Department of History, Poynter Center for the Study of Ethics and American Institutions, the Center for Documentary Research and Practice, the Black Film Center/Archive, Justin Hodgson, and IU Cinema.

20th African Film Festival Traveling Series
September 12-15, 2016

The 20th African Film Festival Traveling Series is sponsored by IU Libraries Media Services, Black Film Center/Archive, the African Studies program, The Media School’s cinema and media arts program, the Department of African American and African Diaspora Studies, the Department of History, the Department of Comparative Literature, and the IU Cinema. Special thanks are due to Monique Threatt of the IUB Libraries Media Services and Alimah Boyd of the African Film Festival, Inc.

Head Gone (2014, Dir. Dare Fasasi)
Monday, September 12, 2016 | 7:00 p.m. | IU Cinema
Nigeria/Sweden, 111 min. In English & Pidgin with English subtitles.

Due to a road mishap, a bus driver loses a group of psychiatric patients on the way to a federal hospital. To cover up the mistake, he and a nurse pick up unsuspecting commuters to substitute the patients and the plot thickens as the new passengers must try to prove their sanity in a psychiatric institution, while the escapees try to adjust to a new environment. This allegorical comedy of errors features some of Nigeria’s biggest names.

Red Leaves (2014, Dir. Bazi Gete)
Tuesday, September 13, 2016 | 6:00 p.m. | BFC/A’s Phyllis Klotman Room (Wells 044B)
Israel, 80 min. In Hebrew and Amharic with English subtitles.

Meseganio Tadela, 74, immigrated to Israel from Ethiopia 28 years ago with his family. He has chosen to zealously retain his culture, talks very little, and hardly speaks Hebrew. After losing his wife, Meseganio sets out on a journey that leads him through his children’s homes. He comes to realize that he belongs to a rapidly disappearing class that believes in retaining Ethiopian culture. As this harsh reality begins to hit him, he struggles to survive according to his own rules.

Afripedia: Ghana (2014, Dir. by Teddy Goitom, Benjamin Taft and Senay Berhe)
Wednesday, September 14, 2016 | 6:00 p.m. | BFC/A’s Phyllis Klotman Room (Wells 044B)
Ghana/Kenya/Sweden, 28 min. In English.

The whispers among connoisseurs talk about Accra as the next big hotspot for African cultural production, and Afripedia: Ghana suggests they’re not wrong. Meet outspoken and androgynous music star Wiyaala, exciting trick-bikers whose BMX skills and flamboyant style have taken neighborhoods by storm. Visual artist Afrogallonism puts on extraordinary outdoor performances to highlight environmental issues.

Afripedia: Kenya (2014, Dir. by Teddy Goitom, Benjamin Taft and Senay Berhe)
Wednesday, September 14, 2016 | 6:30 p.m. | BFC/A’s Phyllis Klotman Room (Wells 044B)
Ghana/Kenya/Sweden, 28 min. In English.

Take an intimate look at Nairobi’s urban culture scene and its leading personalities and stars. Meet 3D-artist Andrew Kaggia, creator of a 3D-animated political short film, taking you to his futuristic vision of Nairobi and proving that disability is never inability. Afro-futuristic pop band and DIY-enthusiasts Just a Band redefine music videos, and visual artist Cyrus introduces us to his remarkable collection created solely with found materials.

The Longest Kiss /A jamais, pour toujours (2013, Dir. by Alexandra Sicotte-Lévesque)
Wednesday, September 14, 2016 | 7:00 p.m. | BFC/A’s Phyllis Klotman Room (Wells 044B)
Sudan, 72 min. In English and Arabic with English subtitles.

The meeting of the Blue and White Nile in Sudan's capital, Khartoum, is referred to as 'the longest kiss in history.' As the Arab Spring was in full bloom, Sudan, straddling between the Middle East and Africa, was about to split in two. The film follows six young Sudanese searching for a place to call 'home' as their journeys take us up and down the Nile, between north and south Sudan, ahead of the south's secession. Facing conflicting identities, youth in north Sudan grapple with a stale dictatorship while others in south Sudan hope to start over—but at what costs? For the first time a film gives a voice to Sudanese youth from different origins, Muslims and Christians. It is an intimate portrait of a complex society that bears witness to its inevitable fragmentation.

Cholo (2014, Dir. Muzna Almusafer)
Thursday, September 15, 2016 | 4:00 p.m. | BFC/A’s Phyllis Klotman Room (Wells 044B)
Oman, 21 min. In Swahili with English subtitles.

The dark-skinned, 11-year-old Cholo meets his fair-skinned younger stepbrother Abdullah for the first time when their father Said arrives in Muscat. Although strikingly different, the boys have great chemistry. Cholo is a young boy full of imagination and a great love for nature and life. However, jealousy, competitiveness, and curiosity arise between the two, as they go through a journey of self-discovery.

Panic Button (2014, Dir. Libby Dougherty)
Thursday, September 15, 2016 | 4:30 p.m. | BFC/A’s Phyllis Klotman Room (Wells 044B)
South Africa, 25 min. In English.

From the moment that Tshepo, a security guard, breaks through Jenny’s multi-locked door to save her, she feels as if she’s been swept off her feet. But as Jenny imagines herself falling in love with him, an unhealthy, delusional obsession begins to take shape.

The Prophecy (2015, Dir. by Marcia Juzga)
Thursday, September 15, 2016 | 5:00 p.m. | BFC/A’s Phyllis Klotman Room (Wells 044B)
Senegal, 20 min. In French & Wolof with English subtitles.

Concerned about the environmental issues that Senegal is facing, photographer Fabrice Monteiro, in collaboration with the designer “Jah Gal,” created The Prophecy. The objective of this photographic project is to raise global awareness of the environment by combining art, culture, fashion, and tradition. The essence of each site photographed is characterized by a Jinn — supernatural genies omnipresent in African cultures — merging with its environment. Marcia Juzga’s film is a behind-the-scenes look at the making of Monteiro’s project.

The African Film Festival National Traveling Series has been organized by the African Film Festival, Inc. This series has been made possible by the generous support of The Bradley Foundation, Domenico Paulon Foundation, and the National Endowment for the Arts.

Spring 2016

ARRAY Classics presents: Haile Gerima's ASHES AND EMBERS

Ashes and Embers (1982, Dir. Haile Gerima)
Thursday, April 28, 2016 | 7:00 p.m. | IU Cinema

Winner of the FIPRESCI Prize at the 1983 Berlin International Film Festival, Haile Gerima's ASHES AND EMBERS presents the story of Vietnam veteran Nay Charles, struggling years after the war to find strength and confidence as he comes to terms with his military past and his place as a Black man in contemporary America. Shadow & Act's Brandon Wilson calls Gerima's film "a challenging, non-linear endeavor; half experimental, half narrative, and above all a call to arms" reminiscent of Resnais and Godard.

This free screening is co-sponsored by the Black Film Center/Archive, the Cinema and Media Studies unit at The Media School, and IU Cinema.




Reflections Unheard: Black Women in Civil Rights (2013, Dir. Nevline Nnaji)
Friday, April 8, 2016 | 3:00 p.m. | Phyllis Klotman Room at BFC/A (Wells Library 044B)

In the feature-length documentary Reflections Unheard: Black Women in Civil Rights, film director Nevline Nnaji chronicles the experiences of some of the 60’s and 70’s most prolific black female activists during moments of political triumph as well as in the face of gender, racial, and class inequality. Through a series of interviews and stunning archival footage, Nnaji calls attention to the oft-overlooked obstacles these women endure while organizing for the social and political betterment of women in both nationaland international contexts.

Reflections Unheard: Black Women in Civil Rights, is an official selection of the New York African Diaspora Film Festival, Pan African Film Festival, CinemAfrica Film Festival, and the Black International Cinema Berlin.

This free screening is presented by IU Libraries Media Services, Directed by Women, and the Black Film Center/Archive.

Intersectionality: IU Latina Film Festival and Conference

Thursday, April 7, 2016 - Saturday April 9, 2016| IU Cinema

The third Latino Film Festival and Conference will put Latina filmmakers, actresses, and Latina film scholars at the center. The aim of this festival and conference is to present new perspectives in the studies of Latina identity that moves us away from stereotypical representations and that showcases the intersectionality of identity within the contexts of immigration, gender, sexuality, social class, and race/ethnicity issues. The Latina Film Festival provides an exciting and productive paradigm in which to showcase the innovative directing and acting of women in documentaries, shorts, and feature length films. Multiple scholars and filmmakers will be present.

Festival and conference sponsors include the Latino Studies Program; College of Arts and Sciences’ Ostrom Grants Program; College Arts & Humanities Institute; Office of the Vice President for Diversity, Equity, and Multicultural Affairs; La Casa, IU Latino Cultural Center; Black Film Center/Archive; Center for Latin American and Caribbean Studies; Center for Research on Race and Ethnicity in Society; the Asian American Studies program; the departments of Gender Studies and American Studies; and IU Cinema.


Films by Christopher Harris

Saturday, February 27, 2016 | 8:00 p.m. | 21+ only
At The Bishop, 123 S. Walnut St., Bloomington

Christopher Harris’ award-winning experimental films include a long take look at a post-industrial urban landscape, an optically printed and hand-processed film about black outlaws, a pinhole film about the cosmic consequences of the sun’s collapse, a macro lens close up of a child’s nightlight and a double projection film about a theme park performance of Christ’s Passion. Harris recently completed two multi-screen HD video installations that reenact and reimagine the slave daguerreotypes commissioned by Louis Agassiz in 1850. He was awarded a 2015 Creative Capital grant in support of his upcoming film Speaking in Tongues. His work has screened at festivals, museums and cinematheques throughout North America and Europe and is also featured in the Cinema Scope magazine article Between Two Eyes: Four Emergent Avant-Garde Film/Videomakers for the New Decade. He is currently an Associate Professor of Cinema Studies at the University of Central Florida in Orlando.

Sponsored by the Afrosurrealist Film Society, the Black Film Center/Archive, Cinema & Media Studies at The Media School at Indiana University, the IU Libraries Moving Image Archive, and the Underground Film Series. Special thanks to Dan Coleman, the Black Cinema House, and the School of the Art Institute of Chicago.

WHEN WE WERE KINGS: 20th Anniversary Screening

When We Were Kings (1996, Dir. Leon Gast)

Tuesday, January 12, 2016 | 7:00 p.m. | IU Cinema

Leon Gast’s seminal documentary, When We Were Kings (1996 Academy-Award® winner for Best Documentary Feature), brilliantly captures the vivid theater and political stakes of the 1974 “Rumble in the Jungle” championship match between Muhammad Ali and George Foreman in Zaire. Kings operates at a fascinating intersection between sports, politics, and culture to interrogate the fight as a morality play on the shifting state of global Black identity politics in the 1970s. This 20th anniversary screening is co-sponsored by the Black Film Center/Archive, the Center for Documentary Research and Practice, and IU Cinema. (35mm Presentation)

Fall 2015

Black Journal: The Black G.I. / No Vietnamese Ever Called Me Nigger

Black Journal: The Black G.I. (1969/1970, Dir. Kent Garrett and Stan Lathan)

No Vietnamese Ever Called Me Nigger (1968, Dir. David Loeb Weiss)

Thursday, December 3, 2015 | 7:00 p.m. | IU Cinema

Black Journal was a weekly public television newsmagazine in the late 1960s/early 1970s that examined the many issues pertinent to the black American experience at the time. This two-part episode, The Black G.I. (55 min.), focuses on the experiences of black G.I.s in the Vietnam War. It features frank discussions from soldiers, ranked officers, and politicians about the racism that defined the different experiences that black soldiers had in this war.

While The Black G.I. focuses on black soldiers in Vietnam, No Vietnamese Ever Called Me Nigger (68 min.) instead trains its lenses on the experiences of black communities in New York during anti-war protests in 1967. Interviewing a variety of people in the streets, as well as black veterans, the film presents a portrait of a moment in American history that stands as a timely and needed reminder of the power of public protest and action.

This screening is part of the IU Cinema series, 40 Years On: Screening the Vietnam War, sponsored by WTIU, IU Cinema, the Black Film Center/Archive, the Cinema and Media Studies program, The Media School, Indiana University Center for Documentary Research and Practice, and Veteran Support Services. No Vietnamese Ever Called Me Nigger has been preserved with funding from the Carnegie Corporation of New York and the New York State Library, Division of Library Development and print is provided courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts. Contains strong language. There will be a post-screening discussion. (16mm Presentation)


Love and Solidarity in the Struggle for Labor Rights: Learning from Nonviolent Revolutionary James Lawson

Tuesday, November 10, 2015 | 7:00 p.m. | IU Cinema

Love and Solidarity chronicles the life of African American civil rights and labor activist James Lawson, who served as nonviolent theorist for Martin Luther King, Jr. For the last 30 years, Lawson has worked as a Methodist minister in Los Angeles using nonviolent direct action techniques to help immigrants and low-wage workers organize in service economy jobs.

This screening is sponsored by the College of Arts and Sciences’ Themester 2015, the Black Film Center/Archive, the departments of History, African American and African Diaspora Studies, and Folklore and Ethnomusicology. Director Michael Honey is scheduled to be present.

The event is free, but ticketed.

From Cinematic Past to Fast Forward Present: D.W. Griffith’s The Birth of a Nation— A Centennial Symposium

November 12-13

For more information, including a full schedule of events, visit the symposium website.

The year 2015 marks the centennial of D.W. Griffith's THE BIRTH OF A NATION, "the most controversial motion picture of all time." Notwithstanding acclaim for its artistic innovations, THE BIRTH OF A NATION provoked controversy and indignation because it elevated white supremacy and patriarchy to existential cause while fashioning a racist regime of historical memory.

This two-day symposium will assess THE BIRTH OF A NATION's legacy and continuing relevance to transnational, political, and cultural affairs. Further, it will discern the film's utility to idealogical accounts of historical activity and will illume contemporary issues in race relations, immigration policy, and Hollywood representations of race and patriarchy.

This symposium is sponsored by the Black Film Center/Archive in partnership with The Media School and Indiana University Cinema. Co-sponsors include the Department of African American and African Diaspora Studies; the Department of American Studies; the Center for Research on Race and Ethnicity in Society; the Cinema and Media Studies Unit; the Department of History; and, the Poynter Center for the Study of Ethics and American Institutions.

Special thanks to the Office of the Provost and Executive Vice President. Generous additional support was provided by The College Arts & Humanities Institute; Indiana University’s College of Arts and Sciences Ostrom Grants Program; and, Indiana University’s New Frontiers in the Arts and Humanities Program. A program of the Office of the Vice President for Research, New Frontiers in the Arts and Humanities is funded by the Office of the President.

New Negress Film Society Short Film Program

Filmmakers Ja’Tovia Gary and Stefani Saintonge will visit Indiana University on Friday, September 4, for a free film screening event at the IU Cinema. The award-winning directors are members of the New Negress Film Society, a "collective of black woman filmmakers whose priority is to create community and spaces for support, exhibition and consciousness-raising.” Their visit will include a conversation moderated by IU Professor Terri Francis, who is currently teaching a course in The Media School called Black Women Make Movies: Race, Gender and Representation.

The program will include screenings of the following works:

Afronauts (2014, 14 min.) dir. Frances Bodomo
You Cannot Haunt Your House at Will (2014, 12 min.) dir. Dyani Douze
Cakes Da Killa: NO HOMO (2013, 13 min.) dir. Ja’Tovia Gary
An Ecstatic Experience (2015, 6 min.) dir. Ja’Tovia Gary
Savage (2012) dir. Kumi James
Seventh Grade (2014, 12 min.) dir. Stefani Saintonge
La Tierra de los Adioses (2013, 27 min.) dir. Stefani Saintonge

The event is free but ticketed.

Luchando: Women in Contemporary Latin America

The literal English translation of luchando is "struggling." The two films in this series are emblematic of women’s ongoing struggle against society’s patriarchal norms. Not only do women directors struggle to get their films made, the characters in these films struggle to make a living and to assert their independence. Luchando: Women in Contemporary Latin America offers a glimpse of the ways that women and people of African descent in the greater Caribbean region fight for recognition.

This series is sponsored by the Black Film Center/Archive, the Center for Latin American and Caribbean Studies, American Studies Graduate Student Association, and the departments of American Studies, African American and African Diaspora Studies, Gender Studies, and Spanish and Portuguese. Series curated by Nzingha Kendall.

Dólares de Arena (Sand Dollars) (2014, Dir. Laura Amelia Guzmán and Israel Cárdenas)

Monday, September 14, 2015 | 7:00 p.m. | IU Cinema

In the follow-up to their 2010 feature Jean-Gentil, writer/director duo Laura Amelia Guzmán and Israel Cárdenas turn to the beach town of Las Terrenas in their latest film. Continuing their exploration of post-colonial legacies between the shared island nations of the Dominican Republic and Haiti, Dólares de Arena traces a complex love triangle between an older French woman (Geraldine Chaplin) and a young Dominican man (Ricardo Ariel Toribio), who are both in love with a 20-something Dominican woman (Yanet Mojica). In Spanish and English with English subtitles. (2K DCP Presentation)

Pelo Malo (Bad Hair) (2013, Dir. Mariana Rondón)

Tuesday, September 8, 2015 | 7:00 p.m. | IU Cinema

Mariana Rondón's acclaimed drama centers on the fraught relationship between a single mother, Marta, and her son, Junior, who wants to have his hair straightened for his school photo. Shot in a gritty, working-class Caracas neighborhood, Pelo Malo tackles questions of gender identity and burgeoning sexuality. Moreover racial tensions subtly surface in this sensitively directed and powerfully acted film. After premiering at the Toronto International Film Festival, Pelo Malo won awards at Thessaloniki, San Sebastian, and Mar del Plata. In Spanish with English subtitles. (2K DCP Presentation)

SembÈne, Father of African Cinema

With a filmography spanning over forty years, Senegal’s Ousmane Sembène (1923-2007) earned international renown as a revolutionary artist and as the Father of African Cinema for his indigenized filmmaking practice.  Sembène eschewed Western languages and narrative style for a new cinematic aesthetic drawing from African storytelling traditions, performed in African languages (Wolof, Diola, Bambara), and expressly produced for African audiences. As Samba Gadjibo quotes Sembène: “Africa is my ‘audience' while the West and the ‘rest’ are only targeted as ‘markets.’” Fifty years on from his first feature production, we celebrate his legacy with a new documentary and two recent digital restorations.

Samba Gadjigo and Jason Silverman are scheduled to be present at both screenings.

This series is sponsored by the Black Film Center/Archive, the Media School, the Cinema and Media Studies program, and the departments of African Studies, French and Italian, and Comparative Literature. Screenings are Free, but ticketed.


La Noire de…(Black Girl)/ Borom Sarrett (The Wagoner) (1966/ 1963) Directed by Ousmane Sembène

Monday, October 19 | 7:00 pm | IU Cinema

Ousmane Sembène’s first feature, La Noire de...(Black Girl) follows a young Senegalese woman who imagines a glamourous life for herself in Marseille as she begins working for a bourgeois French family.  She soon discovers that life as a domestic is a dehumanizing experience not far removed from slavery. La Noire de... earned awards for Sembène at Senegal’s Festival Mondial des Arts Nègres and France’s Festival de Cannes (the prestigious Prix Jean Vigo). Also screening is Sembène’s earlier short, Borom Sarrett (The Wagoner), the story of a poor cart driver struggling in postcolonial Dakar. 

Sembene! (2002) Directed by Samba Gadjigo and Jason Silverman

Tuesday, October 20 | 7:00 pm | IU Cinema

Reviewing its 2015 premiere at Sundance, Bilge Ebiri wrote that, of all the festival’s films this year, “no film demonstrated the power of cinema more resonantly than Sembene!  The documentary chronicles Ousmane Sembène’s fascinating life as a militant artist, self-taught novelist, and “Father of African Cinema.” Using rare archival footage, animation, and the firsthand experience of Sembène expert and colleague Samba Gadjigo, the filmmakers present an honest and complex portrait. Sembene! emerges also as Gadjigo’s story, as he recounts the ways that Sembène’s work transformed his life. 



Friday, October 23, 2015 | 6:30 p.m. | IU Cinema

This 1996 documentary from directors Tony Buba and Ray Henderson focuses on the Civil Rights Movement in the heavily segregated steel industry and its equally segregated union, The United Steelworkers of America (USWA), at the time when this industry—devastated by mismanagement and global competition—began to crumble. It is a powerful picture of black working-class life in the latter part of the 20th century, told in a combination of interviews and documentary footage. Through live testimonials and revelatory archival materials, Struggles in Steel shows the contributions of African Americans to the steel industry and to the labor movement more generally. Director Tony Buba is scheduled to be present.


This screening is co-sponsored by the Black Film Center/Archive, _____. It is part of the IU Cinema series, Documenting the Decline of the Urban Working Class: The Films of Tony Buba. The event is free, but ticketed.

Spring 2015

abderrahmane sissako: Transnational poetic Cinema

Jorgensen Guest Filmmaker Lecture with Abderrahmane Sissako

Friday, April 17 – 3:00 p.m. – IU Cinema

One of the world’s leading filmmakers, Abderrahmane Sissako from Mauritania/Mali, is an artist whose transnational poetic vision is grounded in precise, everyday acts and humanity. This retrospective highlights Sissako’s transnational cinematic practice and aesthetics, produced by an allegiance to home mediated by expatriation. Sissako is a particularly compelling filmmaker because his artistic practice has developed in relation to key epochal shifts (colonial to postcolonial, Cold War to global, decolonizing to diasporic) that challenge tidy chronologies and national borders.

This series is sponsored by the College Arts and Humanities Institute, African Studies Program, the Black Film Center/ Archive, the Department of Comparative Literature, the Department of History, Film and Media Studies, The Media School, and the IU Cinema. Special thanks to Cultural Services of the French Embassy, Institut Français, Amélie Garin-Davet, and Marissa Moorman.

Abderrahmane Sissako and Kessen Tall, his co-writer and executive producer for his most recent film, will be on campus April 13–19 and present at several screenings

Screenings are free, but ticketed.

Waiting for Happiness/ Heremakono (2002) Directed by Abderrahmane Sissako

Sunday, April 12 – 6:30 p.m. – IU Cinema

Winner of the 2002 Cannes International Critics Award, this film traces the intersecting lives of the inhabitants of a coastal town, situated where the Sahara Desert meets the Atlantic Ocean. Among them: Abdallah, an urbane, Paris-educated student home for a visit and, Khatra, the young, curious apprentice to a local electrician. Poised on the cusp of the continent, these characters embody a world of exile and adaptation to external forces and local graces. In French, Hassaniya, and Mandarin languages with English subtitles. (35mm presentation)

Timbuktu (2014) Directed by Abderrahmane Sissako

Thursday, April 16 – 6:30 p.m. – IU Cinema

Director Abderrahmane Sissako is scheduled to be present.

Timbuktu is a fictional look at that ancient city of learning and cosmopolitanism overtaken in 2012 by jihadists who impose sharia, ban music and soccer, impose dress codes, and violently enforce the new law. It locates beauty and humanity in the simple act of boys playing soccer without a ball even as it demands a complex perspective. Speaking of the film Sissako said: “I didn’t want to have a Manichean attitude, to have the good on one side and the bad on the other.” In multiple languages with English subtitles. (2K DCP presentation)

Short Films Program (1991-2010) Directed by Abderrahmane Sissako

Thursday, April 16 – 9:30 p.m. – IU Cinema

Includes all of Sissako’s short films. Among them: October (1993), on the relationship of an African student studying in Moscow and his Russian girlfriend on the eve of his departure; Tiya’s Dream (2008), one of eight shorts on the Millennium Development Goals, follows a young Ethiopian school girl with a rich imagination and an ailing father; and Sabriya (1997), shot in the desert landscape of southern Tunisia, looks at two chess-crazed brothers who own a café but are driven apart when one falls in love. In multiple languages with English subtitles. (35mm and digital presentation)

Bamako (2006) Directed by Abderrahmane Sissako

Friday, April 17 – 6:30 p.m. – IU Cinema

Director Abderrahmane Sissako is scheduled to be present.

Abderrahmane Sissako casts a wry eye on the politics of international debt in Bamako. African citizens in Mali’s capital put the World Bank and the IMF on trial in the courtyard of a typical home. Amidst the proceedings—accusations, testimonies, tired faces, tilted judicial wigs—daily life continues. A bar singer, Melé, fetches water in the courtyard, a wedding procession passes by, and a security guard’s gun goes missing. Politically astute, culturally rich, and funny, Sissako puts the macro and micro in the same frame and demands accountability. In multiple languages with English subtitles. (35mm presentation)

Rostov-Luanda (1998) Directed by Abderrahmane Sissako

Friday, April 17 – 9:30 p.m. – IU Cinema

Ostensibly a travelogue by Sissako as he searches for a friend he met at film school in the Soviet Union, this film reveals a war-torn Angola. What Sissako finds in Luanda, Angola’s capital, are broken promises for Angolans and the continent, especially for people of his generation. The film charts these emotional currents, the dislocations of war, and nuggets of hope located in new friendships. French language with English subtitles.

Life on Earth (1998) Directed by Abderrahmane Sissako

Sunday, April 19 – 3:00 p.m. – IU Cinema

A poetic meditation on Africa at the turn of the new millennium, Life on Earth imagines Mali on the last day of the last century. A “fictional documentary,” Life on Earth interlaces images of Sokolo, a border town in Mali, with readings from Aime Césaire, the Caribbean critic of colonialism, and the sounds of the world famous Malian singer Salif Keita. At the center of this film are the dense connections between technologies, people, and places. In French and Bambara languages with English subtitles. (35mm presentation)


We Came to Sweat: The Legend of Starlite

We Came to Sweat: The Legend of Starlite (2014) Directed by Kate Kunath and Sasha Wortzel/ Judy Chicago & the California Girls (1971) Directed by Judith Dancoff

Monday, April 6 – 7:00 p.m. – IU Cinema

Free, but ticketed

In 1962, Mackie Harris founded a gay bar for his Brooklyn community in a highly charged climate of the civil rights movement. We Came to Sweat: the Legend of Starlite documents the impact of gentrification and displacement on the patrons of the Starlite, in a portrait of the living history of the LGBTQ community. This screening is part of the Feminist Art as Self-Help film series, presenting new works in feminist and queer cinema.The series is sponsored by the Department of Communication and Culture, the Film and Media Studies program, the Black Film Center/Archive, the departments of English, Cultural Studies, Gender Studies, and American Studies.


Just Another Notion: Short Films by Mike Henderson


Mike Henderson Short Film Program

Friday, April 3 – 6:30 p.m. – IU Cinema

Director Mike Henderson and archivist Mark Toscano are scheduled to be present.

Painter, professor, and blues man, Mike Henderson is far too little known for his remarkable body of 16mm film work. Radically inventive, often hilariously funny, and very rarely shown, Henderson’s films reflect an unusual synthesis of his music and painting backgrounds, spanning compositional experiments, absurdist musings on creativity, and blues-driven pieces about Black identity, all rendered in a powerful, unadorned DIY directness.

Films include Dufus (1970/73), The Last Supper (1970/73), How to Beat a Dead Horse (1983), and King David (1970/2003), made with Robert Nelson. This program is curated by archivist Mark Toscano and includes several restored prints from the Academy Film Archive. (16mm presentation)

This series is sponsored by the Black Film Center/Archive, the College of Arts and Sciences, The Media School, the Film and Media Studies Program, the Department of American Studies, the Afrosurrealist Film Society, the Underground Film Series, and the Department of African American and African Diaspora Studies. Screenings are free, but ticketed.

Thank you to the Academy of Motion Picture Arts and Sciences Film Archive for providing all 16mm prints included in this series.


Black Silence: Films by Zeinabu irene Davis and Charles Lane

Decades before The Artist sparked an international silent revival, two Black independent features—Charles Lane’s Sidewalk Stories and Zeinabu irene Davis’ Compensation—bookended the heyday of the Black New Wave with bold formal experiments incorporating markers of silent cinema into contemporary explorations of friendship, social inequality, and Black experience. To return to silent cinema is to invoke nostalgia, but in the case of these filmmakers, it is a knowing, rather than naïve, romance with a past that excluded African Americans.

This series is sponsored by the Black Film Center/Archive, the College of Arts and Sciences, The Media School, the Film and Media Studies Program, the Department of American Studies, and the Department of African American and African Diaspora Studies.

Screenings are free, but ticketed.

Compensation (1993) Directed by Zeinabu irene Davis/ Daydream Therapy (1977) Directed by Bernard Nicolas

Friday, February 20 – 6:30 p.m. – IU Cinema

Director Zeinabu irene Davis is scheduled to be present.

Thanks to Zeinabu irene Davis for the use of her personal 16mm print of Compensation as held in trust by the UCLA Film & Television Archive. The Digibeta of Daydream Therapy is also being provided by the UCLA Film & Television Archive.

Set a century apart, two Chicago love stories of a deaf woman and a hearing man converge in Davis’ feature debut to contemplate Black experiences across lines of class, gender, and ability. Inventive use of sign language and intertitles makes the film accessible for deaf and hearing audiences. Daydream Therapy, the first short by fellow UCLA “L.A. Rebellion” filmmaker Bernard Nicholas, utilizes the limitations and possibilities of silent, small-gauge cinema to poetically render the escapist fantasies of a hotel worker. (16mm/Digibeta.)

Momentum & Work-in-Progress Screening

Friday – 1:00 p.m. – Black Film Center/ Archive

Davis will be at the BFC/A in Wells Library 044 to present and discuss clips from her documentary work-in-progress, SPIRITS OF REBELLION: BLACK FILM AT UCLA, and her 2010 documentary short, MOMENTUM: A CONVERSATION WITH BLACK WOMEN ON ACHIEVING ADVANCED DEGREES. Space is limited, so please RSVP to if you plan to attend the Work-in-progress event.


Sidewalk Stories (1989) Directed by Charles Lane/ A Natural Born Gambler (1916) Directed by Bert Williams

Monday, March 9 – 7:00 p.m. – IU Cinema

Sidewalk Stories tells the story of a modern day “tramp” and his unlikely friendship with a lost child. Lane pairs the comedic charm of Chaplin with the harrowing social realism of Lionel Rogosin to explore class relations and homelessness in 1980s New York. Lane’s film will follow Bert Williams’ 1916 short A Natural Born Gambler, featuring the Black comic playing on popular stereotypes to provide a point of comparison, as well as a striking point of departure to Sidewalk Stories. Featuring live piano accompaniment for the Williams' film.

The print for A Natural Born Gambler is preserved by The Museum of Modern Art with support from The Lillian Gish Trust for Film Preservation. Thank you to the Museum of Modern Art Film Preservation Center for the generous loan of their 35mm print.


Fall 2014

Afrosurrealist Film Society presents Akosua Adoma Owusu

Monday, November 10 - 11:00 a.m. - Brigance Library (800 E. 3rd St., 2nd FL) Akosua Adoma Owusu is an American experimental filmmaker of Ghanaian parentage. Owusu says “through my filmmaking, I hope to open audiences up to a new dialogue between the continents of Africa and America; one that incorporates more than just stereotypes, but includes both conventionalized and unconventionalized discourses of race in its service.” Owusu’s filmmaking practice involves appropriation of preexisting materials and creating original footage. Akosua Adoma Owusu will discuss her films following the 45-minute program along with IU cinema and media studies professor Terri Francis.


ME BRONI BA (MY WHITE BABY) 22 minutes |2009 | digital projection “Me Broni Ba” (“My White Baby”) is a lyrical portrait of hair salons in Kumasi, Ghana. The tangled legacy of European colonialism in Africa is evoked through images of women practicing hair braiding on discarded white baby dolls from the West. The film unfolds through a series of vignettes, set against a child’s story of migrating from Ghana to the United States. The film uncovers the meaning behind the Akan term of endearment, me broni ba, which means “my white baby.”

DREXCIYA 12 minutes |2010| digital projection A portrait of an abandoned public swimming facility located in Accra, Ghana. The Riviera was once known as Ghana’s first pleasure beach. A one-time extravagant Ambassador Hotel of post-colonial – early Kwame Nkrumah era, the Riviera Beach Club thrived until the mid-1970's. The Olympic-sized pool, now in a dilapidated state, is used for locals for things other than swimming. Inspired by the myth of Detroit electronic bands, Drexciya & Underground Resistance.

SPLIT ENDS, I FEEL WONDERFUL 5 minutes | 2012| digital projection A woman attaches hair piece, black women in hair salons get their hair plaited; and a woman models on a yellow turban. Eccentric hairstyles reveal the roots of Afro hair in which activist, Angela Davis becomes involved. Manipulating and re-positioning found footage as subject matter, “Split Ends, I Feel Wonderful” observes the latest fad in hairstyles of 1975 among African-Americans in NYC. The film takes us to a time when Black was beautiful and a symbol of African pride.

This presentation of the Afrosurrealist Film Society is cosponsored by Cinema and Media Studies, the Black Film Center/Archive, American Studies, Cultural Studies, and the Department of African and African Diaspora Studies.

Blaxploitation Horror of the 1970s

Following the surprise box-office success of American International Pictures’ Blacula in 1972, AIP and other independent studios began producing more horror titles for the Blaxploitation market, from black-cast remakes of Hollywood horror classics to more original genre-bending narratives. While drawing sharp criticism in conservative African American circles for crossing the boundaries of what was deemed respectable, Blaxploitation horror films often turned the over-the-top conventions of horror into critiques of the genre’s white-supremacist subtext of the “monstrous Other.” All films will be screened on 35mm.

The series is co-sponsored with IU Cinema and the Departments of African American and African Diaspora Studies, and Gender Studies.

All screenings are free, but ticketed.


Ganja and Hess (1973) Directed by Bill Gunn

Friday, August 29 – 6:30 p.m. IU Cinema

Writer/director Bill Gunn’s lushly shot, richly meditative story about black desire and spirituality premiered to acclaim at Critics’ Week in Cannes but had a different reception from its producers, who cut the film by more than 30 minutes and promoted it as Blaxploitation fare under alternate titles Blood Couple and Double Possession. This cult classic was restored by the Museum of Modern Art with support from The Film Foundation. Featuring Duane Jones (Night of the Living Dead), Marlene Clark (The Landlord), and Bill Gunn.

Director’s cut 35mm print courtesy of the Museum of Modern Art, New York.


J.D.’s Revenge (1976) Directed by Arthur Marks

Friday, October 10 – 7:00 p.m. IU Cinema

In a nightclub hypnotist act gone wrong, mild-mannered law student Ike becomes the unwitting host for reincarnated 1940s gangster J.D. Walker. J.D.'s spirit is out for revenge, 30 years after the murder of his sister. Ike's friends wonder what has gotten into him as undergoes a complete change of personality — and wardrobe! Shot on location in New Orleans, J.D.'s Revenge stars Lou Gossett, Jr., as a corrupt preacher and Glynn Turman as Ike. (35mm presentation)


Blacula (1972) Directed by William Crain

Friday, October 31 – 9:30 p.m.– IU Cinema

The debut feature by William Crain — one of the first African American directors to graduate from UCLA’s film program — Blacula stars Gary, Ind. native William Marshall as African prince Mamuwalde, christened “Blacula” by the original Count Dracula upon cursing him with vampirism. Fast forward 200 years: two flamboyant American antiques dealers buy Blacula’s coffin and transport him from Transylvania to 1970s Los Angeles, where, awakened, he discovers Tina (Vonetta McGee), a woman with an uncanny resemblance to his dead wife. (35mm presentation)


Forgotten Histories: Recent Documentaries by Gloria Rolando

The spirit of collaboration and the desire to uncover hidden stories mark Afro-Cuban director Gloria Rolando’s approach to filmmaking. Rolando’s documentaries are unequivocally Cuban, and are also inextricably linked to the country’s African diasporic roots. As a founding member of the film collective Imágenes del Caribe, Rolando’s practice exemplifies the independent filmmaking spirit: “None of my projects has had a budget: they begin with a borrowed camera, or a little money to rent equipment, but always with a clear idea of the story I want to tell.”

The series was co-sponsored with La Casa, Center for Latin American and Caribbean Studies, Cultural Studies Program, CUBAmistad, Film & Media Studies Departments of Gender Studies, History, Spanish and Portuguese, and IU Cinema.


Reembarque / Re-embark (2014) Directed by Gloria Rolando

Sunday, October 5 – 6:30 p.m. IU Cinema


Reembarque explores intra-Caribbean migration, a topic she first broached in her earlier documentaries My Footsteps in Baraguá (1996) and Pasajes de corazón y la memoria (2007). The film probes the economic and social effects of exploitation of cheap labor from across the Caribbean to work on Cuban plantations. Spurred the persistence of Haitian traditions– such as creole music and vodou in the Cuban cultural landscape, Reembarque exposes the little-known history of Haitian migrants to Cuba and their subsequent, forced deportation during the early twentieth century. (HD Cam. 59 min. Not Rated.)


1912, Breaking the Silence (2013) Directed by Gloria Rolando

Monday, October 6 - 7:00 p.m. - IU Cinema


Over ten years in the making, 1912, Voces para un silencio unearths the history of Cuba’s Partido Independiente de Color (PIC). Founded in 1908 by Afro-Cuban veterans of Cuba’s war for independence, the PIC was the second black-led party in the Americas. They struggled for racial, political, and economic equality in the early years of the republic. Using a creative mix of interviews and archival documents, Rolando pieces together the historical antecedents that led to the shocking 1912 massacre of thousands of Afro-Cubans affiliated with the PIC. Originally conceived as a three-part series, this recently completed version includes the third and final episode. (HD Cam. 164 min. Not Rated.)


Naked Acts: Image Making and Black Female Sexuality

Bridgett M. Davis' 1996 film Naked Acts is the first feature written, directed, produced, and self-distributed by an African American woman.  Davis and her creative partner, visual artist Renée Cox, will be present for a two-day workshop organized around the expressly Black feminist themes of the film and of their individual work in other media. This program is made possible by a grant from the College of Arts & Humanitites Insitutute, and support from the College of Arts and Sciences; the Kinsey Institute; the Departments of American Studies, Gender Studies, English, and African American & African Diaspora Studies; the Film and Media Studies and Creative Writing Programs; and IU Cinema.

Naked Acts (1996) Directed by Bridgett M. Davis

Monday, September 29 – 7:00 p.m. –IU Cinema

With director Bridgett M. Davis and actress/artist Renée Cox.

"Imagine that your grandmother was Dorothy Dandridge, your mother was Pam Grier, and you wanted to be an actress. Who would you be?" With Naked Acts' story of a young actress struggling against the pressure to perform a nude scene on screen, writer/ director Bridgett M. Davis sets out to examine the impact on self-image of "the dominant film portrayals of Black women in this country's cinematic history" and "to get beyond the limiations placed on our bodies by our racialized past."



Artist Talk with Renée Cox

Tuesday, September 30 – 10:30 AM – Indiana Memeorial Union (IMU) Dogwood Room

Renée Cox is a Jamaican American photographer known for her challenging nude self-portraiture. Her work has appeared in major exhibitions at the Venice Biennale, the Whitney Museum of American Art and the Institute of Contemporary Art.



Jorgensen Guest Filmmaker Lecture with Bridgett M. Davis and Renée Cox

Tuesday, September 30 – 3:00 p.m. - IU Cinema

An extensive discussion between writer/director Bridgett M. Davis and artist/photographer Renée Cox of their creative partnership on NAKED ACTS and their work individually on themes of black women’s sexuality and its representation in film, literature, and art. Moderated by LaMonda Horton-Stallings, Associate Professor, Gender Studies, American Studies.


Into the Go-Slow Reading/ Book Signing with Bridgett M. Davis

Tuesday, September 30 – 7PM – Boxcar Books (408 E. 6th Street)

Author, Filmmaker, and Associate professor of English at the City University of New York's Baruch College, Bridgett M. Davis will read from her second novel, Into the Go-Slow (Feminist Press, 2014).

In 1986 Detroit, twenty-one-year-old Angie passes time working in a mall and watching sitcoms with her mom. But beneath the surface, she is consumed by thoughts of her sister’s death years earlier in Nigeria. Ella had introduced Angie to Black Power and a vision of returning to Africa. On impulse, Angie travels to Lagos and begins to retrace Ella’s steps. Against a backdrop of the city’s infamous go-slow—traffic as wild and unpredictable as a Fela lyric—she uncovers some harsh truths. For anyone who has wished to be of a different era, this book captures the pain of living vicariously and the exhilaration of finding yourself. —Forthcoming in September from The Feminist Press at CUNY.


God Loves Uganda

God Loves Uganda (2013) Directed by Roger Ross Williams

Sunday, September 7 – 3:00 p.m. –IU Cinema

Free, but ticketed

God Loves Uganda is a powerful exploration of the evangelical campaign to change African cultures with values imported from America’s Christian Right. The film follows American and Ugandan religious leaders fighting “sexual immorality” (homosexuality) and missionaries trying to convince Ugandans to follow Biblical law. Filmmaker Roger Ross Williams exposes the missionary movement in Uganda as an outgrowth of Africa’s colonialist past and a 21st century crusade to recreate a continent of people in the image and likeness of America’s most extreme fundamentalists. (2K DCP presentation)

Sponsored by the, GLBT Student Support Services, Office of Diversity Education, a unit of the Office of Diversity, Equity, & Multicultural Affairs, Commission on Multicultural Understanding, Black Film Center/Archive, and IU Cinema.

Spring 2014

Roots/Routes: Contemporary Caribbean Film

Inspired by the reflections of scholars Stuart Hall and Paul Gilroy on the roots and routes of black identity, this series is a glimpse into the vibrancy of contemporary Caribbean filmmaking. These films deal witht he legacies of migration to and from the region, as well as the tug of close familial and distant ancestral links. Representing the Caribbean's linguistic and cultural diversity, Roots/Routes especially emphasizes woman-directed and women-centered films as integral to a truly dynamic Caribbean cinema culture.

Sponsored by the Black Film Center/Archive, Center for Latin American and Caribbean Studies, Minority Languages and Cultures Program, and IU Cinema. Special thanks to Nzingha Kendall. Screenings are free, but ticketed.


Le Bonheur d'Elza

Le Bonheur d'Elza (2011) Directed by Mariette Monpierre

February 24 - Monday - 7:00 p.m.

Director Mariette Monpierre is scheduled to be present.

After graduating from university in Paris, Elza defies her mother's wishes and returns to the island of her birth. She wants a break from her hectic city life and to reconnect with the father she barely remembers. In this lushly shot film, Monpierre captures the intricacies of class, skin color, and family ties in Guadeloupe. Winner of FES-PACO's Paul Robeson Award for Best Film of the Diaspora, and the Pan African Film Festival's Special Jury Prize, Programmers Award, and BAFTA/LA Festival Choice Award, Le Bonheur d'Elza was also a New York Times Critics' Pick.

In French language with English subtitles. The film will be preceded by the short film Auntie (2013), directed by Lisa Harewood. (HD. 93 min. Not Rated.)

La Hija NaturalLa Hija Natural (2011) Directed by Leticia Tonos

March 10 - Monday - 7:00 p.m.

Spurred by the suddend eath of her mother, maria embarks on a quest to find her absent father. Her travels take her to an abandoned banana plantation in a neighboring town where she encounters taciturn widower Joaquin, and his Haitian domestic worker Polo Montifa. Justiniano, a mysterious stranger from Puerto Rico, complicates matters in this magical realist melodrama. The first Dominican feature film directed by a woman, La Hija Natural was the Dominican Republic's offical submission to the 84th Academy Awards for best foreign language film. The film will be preceded by the short film Chimbumbe (2008), directed by Antonio Coello.

In Spanish language with English subtitles. (HDCam. 109 min. Not Rated.)

Latino Film Festival and Conference

Numbering more than 53 million, U.S. Latinos are transforming communities in which they settle, work, and raise families. While their national backgrounds and personal histories vary widely, their lives are deeply interconnected by attachments that span the Americas. Latino lives are at once quintessentially “American” and yet increasingly transnational—linked to Latin America by history and memory, money and politics, migration, and the shared dream of a better life. This second Latino Film Festival and Conference showcases the “Transnational Lives” that define Latina/o experiences in the United States mainland and beyond. Multiple scholars and filmmakers will be present, including Edward James Olmos and Chon Noriega (UCLA). All films are in English and/or Spanish languages with English subtitles.

Event sponsors include Latino Studies Program, College of Arts and Sciences’ Ostrom Grants Program, College Arts & Humanities Institute, La Casa – IU Latino Cultural Center, Department of Spanish & Portuguese, Department of American Studies, Center for Latin American & Caribbean Studies, Black Film Center/Archive Department of Communication & Culture, Department of History and Vice President for Diversity, Equity and Multicultural Affairs (DEMA) and IU Cinema.

New Restorations from Milestone FilmsMosquita y Mari (2012) Directed by Aurora Guerrero

April 3 - Thursday - 7:00 p.m.

Set in a predominately Mexican, immigrant neighborhood in Los Angeles, Mosquita y Mari tells the story of two 15-year-old Chicanas growing up. As a sheltered, only-child to her older, immigrant parents, Yolanda’s sole concern is securing her college-bound future. In contrast, street-wise Mari hustles to help her undocumented family stay above water. Though much different, they are soon brought together when Mari is threatened with expulsion after saving Yolanda from an incident at school. The two forge a friendship that soon proves more complex when a moment between them reveals a sexual undercurrent. (HDCam. 85 min. Not Rated.)

New Restorations from Milestone FilmsLa Lucha de Ana (2012) Directed by Bladimir Abud

April 3 - Thursday - 9:30 p.m.

A flower-seller named Ana must fight to obtain justice for the murder of her only son who was “accidentally” assassinated by the son of a diplomat. Living in a poor neighborhood of Santo Domingo, Ana faces police corruption and threats from all sides. Thanks to the support of her friends and neighborhood, a cell phone video capturing her son’s murder allows justice to prevail. This award-winning film paints a realistic picture of the contrasts between rich and poor in the Dominican Republic. (Digital. 90 min. Not Rated.)

New Restorations from Milestone FilmsThe Salinas Project (2014) - Directed by Carolyn Brown

April 4 - Friday - 9:00 a.m.

There will be a Q&A with director Carolyn Brown to follow screening.

About one hour south of the wealthy Silicon Valley, sits the agricultural town of Salinas, the epicenter of the 1960s farmworker movement. On the east side of Salinas, in a neighborhood known as Alisal, deplorable housing conditions and gang violence are part of daily life. Big changes happening within the community, however, are bringing about a sense of renewal. This documentary profiles several children of migrant farm workers living in Alisal. Without resources, and sometimes undocumented, their future is often uncertain, but their hope and resilience is abundant. The Salinas Project helps viewers understand this immigrant community that is often misrepresented in the media, and highlights the successes and hopes of this community in the face of adversity. (HD presentation)

New Restorations from Milestone Films

Prejudice and Pride (2013) Directed by John Valadez

April 4 - Friday - 10:15 a.m.

There will be a Q&A with director John Valadez to follow screening.

The turbulent decade of the 1960s marked a turning point in the long struggle for Mexican-American civil rights. As César Chávez and Dolores Huerta organized California’s farmworkers to fight for better wages and a union, Chicana and Chicano students in Los Angeles conducted high-school “blowouts” to protest educational neglect. Throughout the US Southwest, activists deployed an array of strategies that included the takeover of public buildings and lands, as well as more conventional voter registration campaigns, to demand political and social change. The youth of the Chicana/o Movement—or, el Movimiento—paved the way for the eventual creation of Latina/o Studies programs in US universities. (Digital presentation)

New Restorations from Milestone Films


Jorgensen Guest Filmmaker Lecture with Edward James Olmos and Chon Noriega

April 4 - Friday - 3:00 p.m.




New Restorations from Milestone FilmsGo For Sisters (2013) Directed by John Sayles

April 4 - Friday - 6:30 p.m.

Edward James Olmos is scheduled to be present.

Bernice (LisaGay Hamilton) and Fontayne (Yolonda Ross) grew up so close people said they could “go for sisters”, but time sent them down different paths. Twenty years later, those paths cross: Fontayne is a recovering addict fresh out of jail, and Bernice is her new parole officer.

When Bernice’s son Rodney goes missing on the Mexican border, his shady associates all in hiding or brutally murdered, Bernice realizes she needs someone with the connections to navigate Rodney's world without involving the police… and turns to her old friend. The pair enlist the services of disgraced ex-LAPD detective Freddy Suárez (Edward James Olmos) and plunge into the dim underbelly of Tijuana, forced to unravel a complex web of human traffickers, smugglers, and corrupt cops before Rodney meets the same fate as his partners.

As much a story of relationships as a story of crime, GO FOR SISTERS is a welcome return to the border for master filmmaker and two-time Academy Award nominee John Sayles (“Lone Star,” “Passion Fish”). (2K DCP. 123 min. Not Rated.)

New Restorations from Milestone Films

In the Time of the Butterflies (2001) Directed by Mariano Barroso

April 4 - Friday - 9:30 p.m.

Edward James Olmos is scheduled to be present.

Based on Julia Álvarez’s bestselling novel, this fact-based story follows the four Mirabal sisters during the dictatorship of Rafael Leónidas Trujillo (Edward James Olmos) in the Dominican Republic. Minerva (Salma Hayek), the most rebellious of the four sisters, begins to have doubts about Trujillo while in Catholic school; she later studies law in Santo Domingo, yet is prevented by Trujillo from exercising her profession. She meets a young professor, Virgilio (Marc Anthony), who introduces her to the opposition movement against Trujillo, which has its consequences. (Digital. 95 min. Rated PG-13.)

New Restorations from Milestone FilmsDominican Shorts Program

April 5 - Saturday - 10:30 a.m.

This program of Dominican Shorts was curated by Tanya Valette. All filma are in Spanish language with English subtitles.

Ysrael Directed by Leticia Tonos (11:31 min.)
Adaptation of a short story by Junot Díaz. Two boys from a marginal city neighborhood go to spend a family vacation in the countryside, finding themselves faced with an estrangement not so different from that of the short story’s author. The director has made the transition from literature to film with a complicit eye and in a moving and honest way.

La Mujer de Columbus Circle-Directed by Freddy Vargas (39:25 min.)
Adaptation of a short story by Franklin Gutiérrez. The encounter of a young banker with a disquieting woman in a subway station of New York changes his perception of a reality that comes in layers.

Pedro de Bella Vista y su Sueño-Directed by Rodrigo Montealegre (15:17 min.)
A short movie situated at the limits between documentary and fiction, and between the two subjectivities of the author and his subject.

Vecino-Directed by Argenis Mills (11:05 min.)
A Dominican emigrant comes to live in a big city and struggles painfully to survive amidst the nostalgia and the difficulties of his adjustment to his new environments and friends.

Papá está en el Cielo-Directed by Francisco Rodríguez (6:00 min.)
The innocence of a boy and the inner workings of Trujillo’s dictatorship come together in this subtle and startling short movie.

New Restorations from Milestone FilmsJean Gentil (2010) Directed by Laura Amelia Guzman and Israel Cardenas

April 5 - Saturday - 4:30 p.m.

Directors Laura Amelia Guzman and Israel Cardenas are scheduled to be present.

Based on a true story, Jean Gentil is a well-educated Haitian man who has lived for many years in the Dominican Republic without being able to find steady work. A fervent believer, Jean undertakes a voyage across the country asking God what he wants him to be. Dominican-Mexican directors Laura Amelia Guzmán and Israel Cárdenas expose a country unknown to many, with breathtaking landscapes, rarely seen sites of Santo Domingo, and the quiet humor of the conversations Jean has with those he meets on his way. Directors Laura Amelia Guzmán and Israel Cárdenas are scheduled to be present. (35mm. 84 min. Not Rated.)


New Restorations from Milestone FilmsAmerica (2011) Directed by Sonia Fritz

April 5 - Saturday - 7:00 p.m.

Director Sonia Fritz is scheduled to be present.

This nuanced adaptation of Esmeralda Santiago’s novel América’s Dream (1997) retraces the plight of a Puerto Rican mother named América, as she flees an abusive lover from her native Puerto Rico. Seeking refuge and a new life in New York, América befriends three domestic coworkers—a Mexican, a Colombian, and a Dominican. With their support, she sets out to find and reconnect with her runaway 14-year-old daughter, and in the process is forced to confront the cycle of violence that haunts her. (35mm. 95 min. Not Rated.)

Bless Me, Ultima (2013) Directed by Carl Franklin

April 5 - Saturday - 9:30 p.m.

Based on the acclaimed novel by Rudolfo Anaya, the film tells the poignant story of Antonio, a young boy coming of age in New Mexico during World War II. When a curandera named Última comes to live with his family, she teaches him about the power of the spiritual world—a world that has its roots in indigenous beliefs and practices. As their relationship grows, Antonio begins to question the strict Catholic doctrine of his parents. Through a series of mysterious events Antonio must grapple with questions of his faith and how to reconcile Ultima’s powers with those of the God of his church. (2K DCP. 106 min. Rated PG-13.)

Fall 2013

The New Black - Documentary Film Screening

The New Black (2013) Directed by Yoruba Richen

January 27, 2014 - 7:00 PM

Tackling the misconception that African-Americans are more homophobic than any other group in the United States, The New Black offers a nuanced perspective on the intersections of race, sexuality, religion, and politics. Shot during the run-up to Maryland's historic 2012 referendum on same-sex marriage, the film follows activists on both sides of the debate, revealing a rich diversity within black America. For Richen, the conflict over same-sex marriage is tied up not only with the struggle to define black family, but also with the legitimacy of black participation and acceptance in American society. 

Sponsored by the Black Film Center/Archive, Department of Gender Studies, and IU Cinema. 

(Digital. 80 min. Not Rated.)

Fall 2013

Regeneration in Digital Contexts: Early Black Film Conference

New Restorations from Milestone FilmsNovember 15, 2013

In this full-day conference, the Black Film Center/Archive convenes an interdisciplinary group of scholars and moving image archivists to discuss the new methodologies and questions emerging through recent scholarship in early black film, and to consider how we render a film as an object of study in transformative digital environments. Special thanks to the National Endowment for the Humanities' Office of Digital Humanities and the Indiana University College of Arts and Sciences for their support. During the conference, IU Cinema will present two silent films, The Flying Ace and Within Our Gates, with live accompaniment from pianist Philip Carli.



New Restorations from Milestone FilmsThe Flying Ace (1926) Directed by Richard E. Norman
November 15 - Friday - 7:00 PM

In ‘Six Smashing Reels of Action,’ The Flying Ace tells the story of World War I flyer-hero Captain William Stokes (Lawrence Criner) who returns home to solve the mystery of a missing paymaster and save the life of the beautiful Ruth Sawtelle (Kathryn Boyd). Featuring an all-black cast, The Flying Ace is the only full-length film surviving from Richard Norman, a prominent director and distributor of silent race films in the 1920s. The film was restored in 2010 by the Library of Congress from an original nitrate print donated by the director’s son, Captain Richard Norman, Jr. Screening is free but ticketed. Live accompaniment from pianist Dr. Philip Carli.



New Restorations from Milestone FilmsWithin Our Gates (1919) Directed by Oscar Micheaux
November 16 - Saturday - 3:00 PM

Through his young protagonist, Sylvia Landry (Evelyn Preer), Oscar Micheaux critically examines the lines between races, classes, and North and South in his earliest surviving film. The complex and twist-filled narrative follows Sylvia as she crosses between North and South, recovering from a broken engagement by finding new purpose in a rural school for African American children and new love with Dr. Vivian (Charles D. Lucas). Long thought lost, a single nitrate print of Within Our Gates was discovered under its Spanish release title, La Negra, at the Filmoteca Española and reconstructed by the Library of Congress. Screening is free but ticketed. Live accompaniment from pianist Dr. Philip Carli.


 National Endowment for the Humanities Support

The Regeneration Conference has been made possible in part by a major grant from the National Endowment for the Humanities: Exploring the human endeavor

Any views, findings, conclusions, or recommendations expressed on this website, do not necessarily represent those of the National Endowment for the Humanities.


LA Rebellion X2

New Restorations from Milestone Films

A milestone in American cinema, the L.A. Rebellion began in the late 1960s when a number of promising African and African American students entered the UCLA School of Theater, Film and Television. From that first class through the late 1980s these filmmakers forged a unique and sustained alternative Black cinema practice in the United States. Along the way, they created fascinating, provocative and visionary films that have earned an impressive array of awards and accolades at festivals around the world. IU Cinema presents two programs of new prints and restorations from UCLA Film & Television Archive’s groundbreaking 2011 series, “L.A. Rebellion: Creating a New Black Cinema.”

Presented in association with UCLA Film & Television Archive and supported in part by grants from the Getty Foundation and The Andy Warhol Foundation for the Visual Arts. The series is curated by Allyson Nadia Field, Jan-Christopher Horak, Shannon Kelley, and Jacqueline Stewart. Presented in partnership with the Black Film Center/Archive. Jan-Christopher Horak (UCLA) and Jacqueline Stewart (University of Chicago) are scheduled to be present.


New Restorations from Milestone Films

Bless Their Little Hearts (1984) Directed by Billy Woodberry

November 16 - Saturday - 7:00 PM

Billy Woodberry’s film chronicles the devastating effects of underemployment on a family in the same Los Angeles community depicted in Killer of Sheep (1977), and it pays witness to the ravages of time in the short years since its predecessor. Nate Hardman and Kaycee Moore deliver gut-wrenching performances as the couple whose family is torn apart by events beyond their control. If salvation remains, it’s in the sensitive depiction of everyday life, which persists throughout. – Ross Lipman. Preservation funded by the National Film Preservation Foundation and the Packard Humanities Institute. Preserved by UCLA Film & Television Archive’s preservation department. Laboratory services by Stanford Theatre Film Laboratory, Audio Mechanics and NT Picture and Sound. (35mm. 84 min. Not Rated.)

New Restorations from Milestone Films

Your Children Come Back to You (1979) A Different Image (1982) Directed by Alile Sharon Larkin

November 17 - Sunday - 3:00 PM

A single mother ekes out a living from welfare check to welfare check, struggling to provide for her daughter. She is faced with the decision to look after her personally or to allow her sister-in-law to provide “more than enough” to go around. Larkin’s film masterfully presents a child’s perspective on wealth and social inequality. (16mm. 30 min. Not Rated.) An African American woman living away from her family in Los Angeles yearns to be recognized for more than her physical attributes. In cultivating the friendship of a male office mate, she aspires to a relationship where sex is not a factor, seeking someone who can “see her as she is,” rather than see only what he wants to see. - Samuel B. Prime (16mm. 51 min. Not Rated.)


Other Films

Cuba, An African Odyssey (2007) Directed by Jihan El-Tahri
October 10 - Sunday - 3:00 PM

From Che Guevara’s military campaign to avenge Lumumba in the Congo up to the fall of apartheid in South Africa, 300,000 Cubans fought alongside African revolutionaries. Cuba, an African Odyssey is the previously untold story of Cuba’s support for African revolutions, one of the Cold War’s most vigorous contests over resources and ideology.

Halloween Film Screening

New Restorations from Milestone FilmsMeet SUGAR HILL and her ZOMBIE HIT MEN...The Mafia has never met anything like them!

The Black Film Center/Archive will co-sponsor a free Halloween screening of the 1974 film Sugar Hill with the Black Graduate Student Association at 7:30PM. Sugar Hill will be screened at the Black Film Center Archive: Wells Library, Room 044, 1320 East Tenth Street, Bloomington, IN. 47405

Sugar Hill (1974) Directed by Paul Maslansky

October 31, 2013 - 7:30PM

When her boyfriend is brutally murdered, after refusing to be shaken down by the local gangsters running their protection racket, Sugar Hill, decides not to get mad, but BAD! Calling upon the help of aged voodoo queen Mama Maitresse, Sugar entreats her to call upon Baron Zamedi, the Lord of the Dead, for help in gaining a gruesome revenge. In exchange for her soul, the Dark Master raises up a zombie army to do her bidding. The bad guys who thought they were getting away clean are about to find out that they're DEAD wrong.

Queer Rebels - Exploding Lineage!: Queer of Color Histories in Experimental Media (2012)
Various Directors
October 11 - Friday - 6:30 PM
Featuring innovative work by a diverse group of media artists, Exploding Lineage explores the complexities of identity construction in African, Asian, and Latino queer diasporas. Curated for the 25th MIX NYC queer experimental film festival, the program includes KB Boyce’s Bulldagger Women and Sissy Men, a tribute to queer artists of the Harlem Renaissance, and Celeste Chan’s Bloodlines, a lyrical recognition of Chinese immigrants detained on Angel Island due to the Chinese Exclusion Act. These selections question conventions, bringing to light queer contributions to the American past while asserting a vibrant existence in the present. Filmmakers and curators KB Boyce and Celeste Chan, of Queer Rebel Productions, are scheduled to be present. This event is part of the Underground Film Series. (2K DCP. 80 min. Not Rated.)

The Exploding Lineage!: Queer of Color Histories in Experimental Media event is co-sponsored by the Black Film Center/Archive, Bloomington PRIDE, Center for the Study of Global Change, Department of African American and African Diapsora Studies, Department of American Studies, Department of Communication and Culture, Department of Gender Studies, East Asian Studies Center, Film and Media Studies program, and GLBT Student Support Services.


South Africa: Apartheid And After

Between 1948 and 1994, South Africa stood out as a defiant last redoubt of official white supremacy and extreme racial segregation. This series offers a wide range of visual and narrative treatments of the problems of political repression, racial discrimination, the peculiarities of life under apartheid, and the persistent links between the U.S. and South Africa. The series is sponsored by the History Department, African Studies, Black Film Center/Archive and IU Cinema and is shown in conjunction with the Mathers Museum exhibit Margaret Bourke-White and the Dawn of Apartheid.


New Restorations from Milestone Films

Cry, the Beloved Country (1951) Directed by Zoltan Korda

October 22 - Tuesday - 7:00 PM

Based on Alan Paton’s famous novel illustrating racial divisions in post-World War II South Africa, Cry, the Beloved Country, was filmed on location during the first years of apartheid. The film dramatizes the collision of African rural and urban cultures. Actors Sidney Poitier and Canada Lee star, while having to negotiate South Africa’s complex racial terrain while shooting the film. Although critical of South African racism, the film also represents Paton’s view that black South Africans proved poorly adaptable to modern urban industrial life. (35mm. 103 min. Not Rated.)

New Restorations from Milestone Films

Come Back, Africa (1959) Directed by Lionel Rogosin

November 2 - Saturday - 7:00 PM

Come Back Africa remains one of the most famous—and yet, rarely seen—visual records of black urban life under apartheid. Shot clandestinely in a cinema-verité style, it recounts the story of a black migrant worker making his way through the workplaces, white homes, and black leisure spaces of segregated Johannesburg. Milestone Films’ recent restoration has given new life to the most politically and aesthetically important film on black life in South Africa in the 1950s, illustrating the new urban black culture that blossomed in Johannesburg’s thriving Sophiatown. (35mm. 95 min. Not Rated.)


New Restorations from Milestone Films

Searching for Sugar Man (2012) Directed by Malik Bendjelloul

November 10 - Sunday - 6:30 PM

This Oscar-winning documentary chronicles the life of Sixto Rodriguez, a Detroit singer who recorded two albums in the early 1970s and was forgotten in the U.S. When ambitions to become the next Bob Dylan fell flat, he found work doing manual labor and disappeared into obscurity. A bootlegged copy of one of his albums made it to apartheid South Africa where, unbeknownst to him, his socially engaged music became a huge hit in the 1980s. In 1997, after the end of apartheid, two South African fans (a record store owner and a journalist) found him in Detroit. They arranged a tour of postapartheid South Africa, creating a world-wide revival of his music. (2K DCP. 86 min. Rated PG-13.)

An African American Independent: The Films of Kevin Willmott

New Restorations from Milestone Films

For almost 15 years Kevin Willmott has independently written, produced and directed films that critically examine American’s racial history and its associated images. He works is a variety of cinematic genres, exploiting their potential to represent characters and subjects generally avoided by mainstream cinema. As a native Kansan, Willmott is also committed to producing stories situated in the landscape and history of Kansas. This Midwestern aspect of his filmmaking reminds us of the potential of cinema to reveal a deep structure that is local and particular.

The African American Independent: The Films of Kevin Willmott film series is co-sponsored by The Black Film Center/Archive, Department of English, Department of History, Department of Communication and Culture, Department of American Studies, and Department of African American and African Diaspora Studies.

Film Screenings at the Black Film Center/Archive

New Restorations from Milestone FilmsThe Battle for Bunker Hill (2008) Directed by Kevin Willmott
October 2 - Wednesday - 7:00 PM
When former Wall Street executive Peter Salem is released from prison, he heads for the small town of Bunker Hill, Kansas, where his ex-wife and their children have started a new life. Soon after he arrives in town, all power is lost - there is no electricity, and cars and computers suddenly shut down. Community leaders are at a loss to explain. Is it the rapture? A massive terrorist attack? Aliens? Cut off from the world, the town's militant past is reawakened and forces coalesce to protect citizens from an unseen enemy, represented to some by Mr. Farook, an elderly Pakistani immigrant who owns the local convenience store. The town's fear leads to the creation of a posse of gunmen, resulting in torture, illegal searches and eventually, murder. (Not Rated.)

New Restorations from Milestone FilmsThe Only Good Indian(2009) Directed by Kevin Willmott
October 9 - Wednesday - 7:00 PM
Set in Kansas during the early 1900s, a teen-aged Native American boy (newcomer Winter Fox Frank) is taken from his family and forced to attend a distant Indian "training" school to assimilate into White society. When he escapes to return to his family, Sam Franklin (Wes Studi), a bounty hunter of Cherokee descent, is hired to find and return him to the institution. Franklin, a former Indian scout for the U.S. Army, has renounced his Native heritage and has adopted the White Man's way of life, believing it's the only way for Indians to survive. Along the way, a tragic incident spurs Franklin's longtime nemesis, the famous "Indian Fighter" Sheriff Henry McCoy (J. Kenneth Campbell), to pursue both Franklin and the boy. (114 min. Not Rated.)

Film Screenings at IU Cinema

CSA: The Confederate States of America (2004) Directed by Kevin Willmott
October 14 - Monday - 7:00 PM
Kevin Willmott's CSA: The Confederate States of America asks "What if the South had won the War?" In this
provocative satire, Willmott imagines an alternate history where slavery is still legal. Using the film-within-afilm
technique, Willmott constructs a TV documentary that examines the legacy of the victorious Confederates.
Commercial breaks add another layer of humor, featuring real-world products such as an electric shackle to
deter runaway slaves and "Darkie" toothpaste. Of particular note is a spoof of a D.W. Griffith film featuring a
fugitive Abraham Lincoln. After its successful premiere at the Sundance Film Festival, Spike Lee assisted in the
film’s distribution. Director Kevin Willmott is scheduled to be present. (2K DCP. 89 min. Not Rated.)

Jorgensen Guest Filmmaker Lecture with Kevin Willmott
October 15 - Tuesday - 3:00 PM

New Restorations from Milestone FilmsDestination: Planet Negro (2013) Directed by Kevin Willmott
October 15- Tuesday - 7:00 PM
As in his previous films, Kevin Willmott’s most recent film takes inspiration from momentous historic events and adds a hilarious, yet incisive, twist. Destination: Planet Negro begins in the 1930s, joining Black History luminaries W.E.B. DuBois and George Washington Carver to solve the “Negro Problem” – by leaving planet Earth. In this send-up of the sci-fi genre film, problems abound as the characters travel through space and time. In keeping with the indie spirit, Willmott wrote, directed and stars in the film. Director Kevin Willmott is scheduled to be present. (2K DCP. 98 min. Not Rated.)


A Call to Action: Ava DuVernay and AFFRM

New Restorations from Milestone Films

Winner of the Best Director award at Sundance in 2012, Ava DuVernay is a veritable trailblazer in the independent film world. In addition to writing, directing and producing her own films, DuVernay launched a groundbreaking film distribution venture, the African American Film Festival Releasing Movement (AFFRM), in 2011. Through a strategic alliance with a network of African American and African diasporic film festivals, AFFRM achieves wider theatrical distribution for the independent films on its carefully-curated roster than was ever open to them through dominant distribution channels. By challenging the terms of participation for black filmmakers in American cinema, AFFRM is, as DuVernay has noted, not so much a business as a call to action. The series is sponsored by the Black Film Center/Archive, Department of African American and African Diaspora Studies, Department of American Studies, Department of Communication and Culture, Film and Media Studies program, IU Cinema and Indiana University Women’s Philanthropy Council.

Black Film Center/Archive Film Screenings

In support of the film series A Call to Action: Ava DuVernay and AFFRM, the Black Film Center/Archive is hosting two film screenings. Screenings are held at the BFC/A, Wells Library, Room 044, 1320 East Tenth Street, Bloomington, IN. 47405.

My Mic Sounds Nice: A Truth about Women and Hip Hop (2010) Directed by Ava DuVernay
September 11 - Wednesday - 7:00 PM

My Mic Sounds Nice: A Truth About Women in Hip Hop explores the demise of the female MC in today's music with interviews from Missy Elliott, Trina, Eve, other female MCs and music industry executives.

Big Words (2013) Directed by Neil Drumming
September 18 - Wednesday - 7:00 PM

Set in Brooklyn on the eve of Obama’s history-making election, three former members of a promising hip-hop crew cross paths again to discover that some things never change. Former frontman John, once known as Big Words, is now a working class guy who raps only to himself. James is a publicist living with his boyfriend, far removed from the days when he rhymed about getting girls. While DJ Malik still spins records with a longing for the glory days. Together again on the day of a landmark election, the friends reckon with dreams deferred and new hopes.

Film Screenings at IU Cinema

New Restorations from Milestone FilmsBetter Mus’ Come (2010) Directed by Storm Saulter
September 15 - Sunday - 3:00 PM

A love story partially inspired by the 1978 Green Bay Massacre, which resulted from the contentious political rivalry between Michael Manley and Edward Seaga, Storm Saulter’s debut probes the culture of political violence in Jamaica. Ricky (Sheldon Shepherd) and Kamala (Sky Nicole Grey) play a dangerous game as they embark on a relationship despite their rivaling neighborhood allegiances. Part of a new wave of Caribbean cinema, Better Mus’ Come played to packed houses in Jamaica and won Best Picture at the Trinidad and Tobago and Barbados International Film Festivals. In 2013, Better Mus’ Come was selected by Ava DuVernay to launch AFFRM’s new multi-platform distribution label, ARRAY. (2K DCP. 104 min. Not Rated.)

New Restorations from Milestone FilmsThis is the Life (2008) Directed by Ava DuVernay
September 15 - Sunday - 6:30 PM

Championed as one of the “must-see hip-hop documentaries” by the LA Weekly, Ava DuVernay’s award-winning directorial debut, This is the Life, documents the progressive hip-hop scene that coalesced in 1990s Los Angeles around The Good Life Café’s weekly open-mic nights. DuVernay (also seen here as MC Eve of Figures of Speech) traces the origins and legacy of The Good Life scene as an alternative musical and lifestyle movement asserting itself against the city’s dominant gangster rap culture. DuVernay’s first experiences with self-distribution for This is the Life informed the strategy behind her creation of AFFRM. (2K DCP. 97 min. Not Rated.)

New Restorations from Milestone FilmsVenus VS (2013) Directed by Ava DuVernay
September 19 - Thursday - 7:00 PM

DuVernay goes back to her beginnings in documentary to trace Venus Williams’ courageous call for financial parity in professional tennis. Taking her lead from pioneering tennis champion Billie Jean King, Williams was instrumental in influencing officials at Wimbledon and the French Open to award equal prize money to both men and women players. In 2007, Williams won the women’s single title at Wimbledon, becoming the first woman to benefit from this change of policy, earning the same amount as Roger Federer, her male counterpart. Produced for ESPN’s Nine for IX, Venus VS premiered this year at the Los Angeles Film Festival. Director Ava DuVernay is scheduled to be present. (HD Cam. 60 min. Not Rated.)

Jorgensen Guest Filmmaker Lecture with Ava DuVernay Friday - September 20 - 3:00 p.m.

New Restorations from Milestone FilmsMiddle of Nowhere (2012) Directed by Ava DuVernay
September 20 - Friday - 6:30 PM

The idea for Middle of Nowhere sparked while director and writer Ava DuVernay was working on Michael Mann’s Collateral. In her second narrative feature, DuVernay perceptively tackles the wide-ranging impact of the prisonindustrial complex on black communities. Centering on a woman’s struggle to come to emotional terms with her husband’s incarceration, Middle of Nowhere contemplates the challenges of maintaining a relationship and staying true to oneself. In the starring role as Ruby, Emayatzy Corinealdi was nominated for multiple awards, winning the Gotham Award for Breakthrough Performance. With this film, DuVernay won the Best Director Award at Sundance in 2012 and the John Cassavetes Award at the Independent Spirits in 2013. Director Ava DuVernay is scheduled to be present. (2K DCP. 97 min. Rated R.)

I Will Follow (2011) Directed by Ava DuVernay
September 20 - Friday - 9:30 PM

Ava DuVernay’s highly-acclaimed narrative feature debut, I Will Follow takes place during one day in the life of Maye (Salli Richardson-Whitfield) as she packs up the family home upon her aunt’s death. In this contemplative and lushly-shot drama, Maye encounters objects as well as people from her past, triggering memories and emotions that help her move forward. Roger Ebert called the film, “One of the best films I’ve seen about coming to terms with the death of a loved one.” I Will Follow underscores the beauty of the quotidian, highlighting DuVernay’s take on an innovative art cinema that tells black stories. Director Ava DuVernay is scheduled to be present. (2K DCP. 80 min. Not Rated.)

Orphans Midwest: Materiality and the Moving Image

2013 Film Symposium

Indiana University Cinema and IU Libraries Film Archive host this impressive gathering of scholars, archivists, and media artists, screening dozens of cinema rarities and rediscoveries, as well as new productions, music performances, and curated presentations. “Orphan films” are all manner of neglected cinematic artifacts.

Partnering with the NYU Orphan Film Symposium, IU’s prominent media units join forces to showcase their collections and expertise in the study and preservation of moving images: IU Libraries Film Archive, Department of Communication and Culture’s Film and Media Studies Program, Black Film Center/Archive, The Kinsey Institute, Indiana University Cinema, Lilly Library, and the Media Preservation Initiative.

New Restorations from Milestone FilmsOff the Rails - Hell Bound Train
Saturday September 28, 2013
11:15am-12:45pm / IU Cinema

Session Leader: Brian Graney (Indiana University)

Participants: Jacqueline Stewart (University of Chicago) Early Black Film Artifacts as Material Evidence: Digital Regeneration and S. Torriano Berry (Howard University) on reconstructing the Gist Film Fragments at the Library of Congress: Hell Bound Train and Verdict Not Guilty (1930-33)


Spring 2013

A Change is Gonna Come: Black Revolutionary PoetsA Change is Gonna Come: Black Revolutionary Poets
This series is sponsored by the Black Film Center/Archive; Film and Media Studies; the Departments of African American & African Diaspora Studies, American Studies, English, Gender Studies, and Germanic Studies; the Kinsey Institute; and IU Cinema. Special thanks to the Office of the Vice President for International Affairs and the National Film Preservation Foundation for their support. The lecture and all screenings take place at IU Cinema. The lecture and screenings are free, but ticketed.

Jorgensen Lecture: Dr. Marion Kraft
Monday - March 18- 3:00 PM
Dr. Marion Kraft, Afro-German scholar and translator, will discuss her role in Audre Lorde: The Berlin Years 1984-1992 and Lorde’s influence on the German Black and Feminist Movements. (70 min.)

Audre Lorde: The Berlin Years 1984-1992 (2012) Directed by Dr. Dagmar Schultz
Monday - March 18- 7:00 PM
Audre Lorde wrote, “I am defined as other in every group I’m part of.” Lorde’s recognition of her own marginalized state deeply influenced her work as a poet and activist. This film chronicles her fight to bring a sense of community--and with it a sense of liberation and freedom--to Afro-German women. Her profound work on racism, classism, homophobia, and xenophobia in Germany during this time period effected incredible change. Through Lorde’s efforts, the understanding held by Afro-Germans of their place in society and political empowerment was forever altered. Director Dr. Dagmar Schultz and Dr. Marion Kraft are scheduled to be present. (DigiBeta presentation, 79 min., Not Rated)

Rainbow Black: Poet Sarah W. Fabio (1976) Directed by Cheryl Fabio
In Motion: Amiri Baraka (1983) Directed by St. Clair Bourne
Monday - April 22- 7:00 PM
Sarah Fabio, Mother of Black Studies, and Amiri Baraka, the most widely published Black writer of his time, have rightfully established themselves as pinnacles of the Black Arts Movement. Unique in their approaches, the documentaries Rainbow Black: Poet Sarah W. Fabio and In Motion: Amiri Baraka take intimate looks at the daily struggles and revelations of these two iconic Black poets working toward “artistic beauty and social justice” in an era of social upheaval.

Rainbow Black: Poet Sarah W. Fabio will premiere for the first time in its newly preserved and restored state. This event is the result of over a year of work between the BFC/A--Cheryl Fabio, the director of Rainbow Black and the daughter of Sarah Fabio--and Colorlab, a renowned film preservation lab. A Preservation Grant from the National Film Preservation Foundation was awarded to the BFC/A in 2012 to fund this preservation project. Director Cheryl Fabio is scheduled to be present. (16mm and DigiBeta presentation, 90 min. total, Not Rated)

New Restorations from Milestone FilmsNew Restorations from Milestone Films
Since 1990, Milestone Films has been involved in the restoration and distribution of groundbreaking, artistically and culturally significant films. Over the course of two days, Milestone Films founder Dennis Doros will present three films: Shirley Clarke's Portrait of Jason and two films by Kathleen Collins, as well as give a lecture. The lecture and all screenings take place at IU Cinema. The lecture and screenings are free, but ticketed.

Lost Films of Kathleen Collins
Thursday - March 21 - 7:00 PM
At the time of her death in 1988, Kathleen Collins was just 46 years old, but already an internationally renowned playwright, a beloved professor and a successful independent filmmaker. After nearly 30 years of being out of circulation, Milestone Films has digitally restored her two films from original camera negatives to look and sound as fresh, bracing and complex as they did when they were made.

The Cruz Brothers and Miss Malloy (1980) is a short story of three Puerto Rican brothers scraping by while contending with the ghost of their dead father.

Losing Ground (1982), one of the very first fictional features by an African-American woman filmmaker, is the story of a black philosophy professor whose artist husband rents a summer country house to celebrate a museum sale. Their idyll summer challenges their relationship as they struggle to find ecstatic experience, both intellectually and emotionally. Dennis Doros is scheduled to be present. (HD Cam presentation, 140 Minutes total, Not Rated)

Jorgensen Lecture: Dennis Doros
Friday - March 22 - 3:00 PM
Dennis Doros will deliver his lecture titled Where’s Shirley: The Restoration of Portrait of Jason, which he presented earlier in the year at the Berlin International Film Festival. (70 min.)

Portrait of Jason (1967) Directed by Shirley Clarke
Friday - March 22 - 6:30 PM
Shirley Clarke’s fascinating character study of self-proclaimed hustler Jason Holliday, evades easy categorization. On the surface, it is a series of 16mm film reels in which the title character provides a vivid verbal account of his life. It is, however, neither straightforward cinema vérité nor traditional documentary. Instead, it lies between a subtle interview, a brilliant monologue, and record of performance that deals head-on with issues of documentary construction. Recently restored by Milestone Films, Portrait of Jason deserves to become a canonical film alongside the work of other luminaries like Andy Warhol and Jonas Mekas. Dennis Doros is scheduled to be present. (HD Cam, 105 min., Not Rated)

New Restorations from Milestone FilmsNelson Pereira dos Santos: Fifty Years of Brazilian Cinema
“Over fifty years have passed since Nelson Pereira dos Santos made his first film, yet he continues to work with youthful enthusiasm on new projects,” wrote Darlene Sadlier in her book on Pereira dos Santos for the Contemporary Film Directors series published by University of Illinois Press. “His career is long and diverse” and “his various projects are unified by a leftist political point of view and a desire to make his audience think as well as feel.”

This series is sponsored by the Department of Spanish and Portuguese, Brazilian Consulate in Chicago, Office of the Vice President of International Affairs, College of Arts and Humanities Institute, Film and Media Studies, Department of Communication and Culture, African Studies, Black Film Center/Archive, Center for Latin American and Caribbean Studies, American Studies, Latino Studies, Department of African American and African Diaspora Studies, Brazilian Association at Indiana University and IU Cinema. Special thanks to the Academia Brasileira de Letras and Darlene Sadlier. This visit is also in partnership with UCLA, Wexner Center for the Arts and City College, New York. All films are in Portuguese language with English subtitles, unless noted and screenings are free, but ticketed. The lecture and all screenings take place at IU Cinema.

Rio, 100 Degrees F. (Rio, 40 Graus) (1956) Directed by Nelson Pereira dos Santos
Sunday - April 14 - 3:00 PM
Inspired by Italian neorealism and a desire to forge a ‘cinema of the people’, Nelson Pereira dos Santos independently produced his story set in a favela of Rio de Janeiro, close to the fashionable tourist sites in and around Copacabana. The camera follows five peanut vendors from a hillside shanty town into tourist areas that include Sugar Loaf Mountain and the famous Maracanã soccer stadium. This film was one of the first in Brazil to address issues of race and social class, and is considered as important to Brazilian cinema as Godard’s Breathless is to French Cinema. The themes explored in this film would be examined throughout Pereira dos Santos’ career. Nelson Pereira dos Santos is scheduled to be present. Portuguese language with English subtitles. (New 35mm print, 100 min. Not Rated.)

Tent of Miracles (Tenda dos Milagres) (1977) Directed by Nelson Pereira dos Santos
Sunday - April 14 - 6:30 PM
In a loose adaptation of Jorge Amado’s best-selling novel of the same name, Pereira dos Santos provides a stunning critique of racism in Brazilian society. When a prominent U.S. Nobel Laureate arrives in Salvador, Bahia, the city with the largest black population in Brazil, he stirs emotions by championing a long-forgotten local writer named Pedro Archanjo, who believed that humanity would be improved only through miscegenation. Like the novel, the film exposes the racial hypocrisy of the Salvador elite, but is a more self-reflexive work that is especially sensitive in its representations of the African religion known as candomblé. Nelson Pereira dos Santos is scheduled to be present. Portuguese language with English subtitles. (New 35mm print, 132 min. Not Rated.)

Jorgensen Lecture: Nelson Pereira dos Santos
Monday - April 15 - 3:00 PM
This lecture will be interview format, led by Professor Darlene Sadlier. (70 min.)

Barren Lives (Vidas Secas) (1963) Directed by Nelson Pereira dos Santos
Monday - April 15 - 7:00 PM
Barren Lives is considered a founding film of the Cinema Novo movement. Derived from Graciliano Ramos’ novel, the film is set in the early 1940s, and describes a year in the life of a poor, uprooted cowhand and his family in the drought-ridden sertão of the Brazilian Northeast. The film is stark in its imagery, powerful in its documentation of the retirante (uprooted), who is dependent on a feudal landowning system. A realistic depiction of the wretched of the earth, Barren Lives is still relevant today; it reads as a white-hot, almost mystically intense pilgrim’s progress through a purgatory that seemingly has no end. Nelson Pereira dos Santos is scheduled to be present. In Portuguese language with English subtitles. (New 35mm print, 103 min. Not Rated.)

Music According to Tom Jobim (A Musica Segundo Tom Jobim) (2011) Directed by Nelson Pereira dos Santos
Tuesday - April 16 - 7:00 PM
The extraordinary musical universe of Antônio Carlos (Tom) Jobim can be presented without dialog or narration. It was with this in mind that Nelson Pereira dos Santos accepted the challenge of committing the musical trajectory of the great Brazilian composer to film. In 1985, Pereira dos Santos produced a four-hour documentary about Jobim for Brazilian television. Based on that experience, he knew the power of Jobim on screen, and that the images of his performances required no words. It’s all there - the power, beauty and poetry of his bossa nova music, the phases of the artist’s career, and the importance of his work to other artists. No need of further explanation, just the pleasure of hearing Tom Jobim! Nelson Pereira dos Santos is scheduled to be present. (2K DCP presentation, 84 min. Not Rated.)

How Tasty Was My Little Frenchman (1971) Directed by Nelson Pereira dos Santos
Sunday - April 21 - 3:00 PM
This delicious black comedy, set in colonial Paraty outside Rio de Janeiro, tells the story of a French adventurer who is captured by members of the Tupinambá tribe and readied for the community’s ritual consumption. The tribe treats their prisoner better than you might think. They give him food and a wife, who happily teaches him the ways of the community. As he plays with his new mate, he considers how to avoid his prescribed fate as the main course of the ceremonial tribal dinner. Originally banned in Brazil due to excessive nudity, the film remains a slyly entertaining masterwork of Brazilian Cinema Novo. In Portuguese language with English subtitles. (35mm print, 84 min. Not Rated.)

Memoirs of Prison (1984) Directed by Nelson Pereira dos Santos
Sunday - April 21 - 6:30 PM
In this adaptation of his posthumous memoir, leftist intellectual Graciliano Ramos recounts his imprisonment in the 1930s by the right-wing regime of Getúlio Vargas. The film is the second adaptation by Pereira dos Santos of a work by Ramos, who also wrote Vidas Secas. Ramos’ portrayal of his imprisonment is minimalist and subdued, as he transforms from ideological theorist (and suspected Communist) to documentarian of his fellow prisoners. The prisoners serve as a metaphor for Brazilian society, and though they do not know what he is writing in the prison, they want to be in his book. Pereira dos Santos uses a straightforward realism to give the film, like the writing of Ramos, the power to document history. In Portuguese language with English subtitles. (35mm., 185 min. Not Rated.)

Winter 2013

I Am SomebodyLiving King's Legacy
This series is part of the 2013 Dr. Martin Luther King, Jr. Day Celebration at Indiana University. Sponsors include the Office of the Vice President for Diversity, Equity, and Multicultural Affairs, Black Film Center/Archive, Neal-Marshall Black Culture Center and IU Cinema. All screenings take place at IU Cinema. Screenings are free, but ticketed.

I Am Somebody (1970) Directed by Madeline Anderson
Friday - January 18 - 4:00 PM
In 1969, filmmaker Madeline Anderson documented the story of 400 poorly paid black American hospital workers in Charleston, South Carolina who went on strike and demanded a fair wage increase, only to find themselves in a confrontation with the state government and National Guard. Supported by such notable figures as Andrew Young and Coretta Scott King, the women moved forward under the guidance of a New York-based union, and the Southern Christian Leadership Conference. The film will be followed by a lecture from Madeline Anderson. (16mm. 28 min. Not Rated.)

Once Upon a Time...When We Were Colored (1995) Directed by Tim Reid
Saturday - January 19 - 3:00 PM
In a tightly connected black community in Mississippi in the 1940s, people live and depend on each other and roots run deep. One American family must come to terms with the risks it is willing to take to fight racism in the segregated South. The film is an adaptation of Clifton L. Taulbert’s autobiography in which a young Taulbert recounts his life, beginning with his birth in a cotton field in 1946. In the moments before the American civil rights movement, the narrator shares an epic American saga of struggle, strength, and destiny. Special thanks to BET Entertainment. (HD Cam. 115 min. Rated PG.)

Boycott (2001) Directed by Clark Johnson
Saturday - January 19 - 9:30 PM
In 1955, Rosa Parks dared to take an empty seat in the “Whites Only” section on a city bus in Montgomery, AL. Her single act sparked one of the first major battles in the civil rights movement. Naming Dr. King its president, the Montgomery Improvement Association successfully brought the black community together in one of the first major organized, grass-roots battles against segregation and racism in the 1950s. Boycott dramatizes the events of the Montgomery bus boycott, weaving vintage newsreel footage with scenes depicting the public and private dramas involved in the protests. Starring Jeffrey Wright, Terrence Howard, and CCH Pounder. Special thanks to HBO Films. (HD Cam. 118 min. Rated PG.)


Road to BrownDocumentary screening: The Road to Brown
Free screening sponsored by the Indiana University Black Law Students Association, the Hudson and Holland Scholars Program, and the Black Film Center/Archive.

The Road to Brown (1990) Directed by William Elwood
Tuesday - January 22 - 7:00 PM
The Road to Brown tells the story of the Brown v. Board of Education ruling as the culmination of a brilliant legal assault on segregation that launched the Civil Rights movement. It is also a moving and long overdue tribute to a visionary but little known black lawyer, Charles Hamilton Houston, "the man who killed Jim Crow." Houston, the first black editor of the Harvard Law Review, dean of Howard University Law School and chief counsel to the NAACP, launched a number of precedent-setting cases leading up to Brown v. Board of Education. He strategically targeted segregated education as the key to undermining the entire Jim Crow system. Interviews with his associates recount how Houston, eschewing the limelight himself, energized a generation of black jurists including future Supreme Court Justice Thurgood Marshall to wage the struggle against segregation. He taught: "A lawyer is either a social engineer or he is a parasite on society." (California Newsreel)

Road to Brown2013 Black History Month
A series of free screenings at the Black Film Center/Archive, co-sponsored by the Department of African American and African Diaspora Studies, the Department of History, and the Black Law Students Association. All screenings take place at the Black Film Center/Archive, Wells Library, Room 044B, unless otherwise noted.

Road to Brown

A. Philip Randolph For Jobs and Freedom (1996) Directed by Dante James
Wednesday - February 6- 7:00 PM
Ask most people who led the 1963 March on Washington and they'll probably tell you Martin Luther King, Jr. But the real force behind the event was the man many call the pre-eminent black labor leader of the century and the father of the modern civil rights movement: A. Philip Randolph.

Randolph believed that economic rights was the key to advancing civil rights. A. Philip Randolph: For Jobs and Freedom takes viewers on a tour of 20th-century civil rights and labor history as it chronicles Randolph's legendary efforts to build a more equitable society.

"Randolph' s socialist ideals, his organizing skills, his toughness, shrewdness and endurance come together in a resounding achievement... A revelation."     -New York Times

Road to Brown At The River I Stand (1993) Directed by David Appleby, Allison Graham, and Steven Ross
Wednesday - February 13- 7:00 PM
Introduction by Associate Professor of History Alex Lichtenstein
Memphis, Spring 1968 marked the dramatic climax of the Civil Rights movement. At the River I Stand skillfully reconstructs the two eventful months that transformed a strike by Memphis sanitation workers into a national conflagration, and disentangles the complex historical forces that came together with the inevitability of tragedy at the death of Dr. Martin Luther King, Jr.

This 58-minute documentary brings into sharp relief issues that have only become more urgent in the intervening years: the connection between economic and civil rights, debates over strategies for change, the demand for full inclusion of African Americans in American life and the fight for dignity for public employees and all working people.

"One of the most clearheaded, evenhanded documentaries about the civil rights movement you'll ever see, and a piece of gripping story-telling as well." -Dallas Observer

1994 Erik Barnouw Award Recipient, Best Documentary, Organization of American Historians


Road to BrownThe Black Press: Soldiers Without Swords (1998) Directed by Stanley Nelson
Wednesday - February 20- 7:00 PM
The Black Press: Soldiers Without Swords is the first film to chronicle the history of the black press, including its central role in the construction of modern African American identity. It recounts the largely forgotten stories of generations of black journalists who risked life and livelihood so African Americans could represent themselves in their own words and images.

The Black Press commemorates a heroic and indispensable chapter in the ongoing struggle for a diverse and democratic media. It demonstrates that the written word has been as fundamental as music or religion to the evolution of African American consciousness—and that it is as important today as in the past for black media professionals to play a vigorous role not just in print media but in the rapidly evolving information technologies of the future.                   

"Retrieves an important missing page from American history and brings it virtually to life. It's beautifully produced and directed and tells a story as only a powerful film can." -Bill Moyers                          

“Stanley Nelson's stellar documentary masterfully tells the tale of the scribbling pioneers to whom we owe so much and of whom each black writer today is an heir." -Henry Louis Gates, Jr., Harvard University

Road to BrownStruggles in Steel (1996) Directed by Ray Henderson and Tony Buba
Wednesday - February 27- 7:00 PM
The current angry debates around affirmative action too often ignore their historical roots: how prior to government intervention African Americans were confined to the most back-breaking, dangerous and low paid work. Struggles in Steel documents the shameful history of discrimination against black workers and one heroic campaign where they won equality on the job.

Black steelworker Ray Henderson and noted independent filmmaker Tony Buba interviewed more than 70 retired black steelworkers who tell heart-rending tales of struggles with the company, the union and white co-workers to break out of the black job ghetto. With Henderson as guide, they retrace a century of black industrial history.

NOTE: A special lunchtime screening of Struggles in Steel will be held on Wednesday, February 6, 12:30 PM, in the Hoosier-Times Student Commons at Ivy Tech Community College - Bloomington.

"An outstanding job!...Provides a vitally important historical foundation for the current debates about race and affirmative action." -Bruce Nelson, Dartmouth College  

Jean RouchThe Shared Ethnography of Jean Rouch

Jean Rouch’s breakthrough work in cinéma vérité helped inspire the Direct Cinema movement in the U.S. and the New Wave in France, where he was a key figure in the Cinémathèque Française. His long career was intertwined with the transforming world of West Africa, characterized by innovations such as “shared anthropology” and “ethno-fiction,” embracing the daily life and imagination of a new generation of Africans. He developed an entirely new kind of documentary film practice that blurred the boundaries between fiction and reality. Special thanks to Livia Bloom and Icarus Films.

All screenings are at the IU Cinema and are free, but ticketed. In addition to the BFCA, this event is sponsored by the Department of Communication and Culture, Film and Media Studies, Departments of Anthropology, History, African Studies, French and Italian, and the IU Cinema.

The Mad Masters (1955)
In the most controversial film by Jean Rouch, the bustling city of Accra sets the stage for a collision between traditional and modern. From Accra, we travel to a ceremony where music swells as participants are possessed - sleepwalking, speaking in tongues, and eventually collapsing to the ground. Using a hand-held camera and quick cuts, Rouch creates an effect he later called “ciné-trance”. After the ceremony, it’s back to daily life in Accra as laborers, low-ranking soldiers, or pickpockets. Rouch suggests that the ritual serves as a psychological release from the dehumanizing powers of colonization. The screening of Moi, Un Noir will immediately follow. (DigiBeta presentation, 28 min. Not Rated.)

Moi, Un Noir (1958)
Moi, Un Noir marked Jean Rouch’s break with traditional ethnography, and his embrace of the collaborative and improvisatory strategies he called “shared ethnography”. The film depicts an ordinary week in the lives of men and women from Niger who have migrated to Abidjan, Cote D’Ivoire for work. Narration is provided by one of its subjects, whose freewheeling commentary describes the bitter reality of life there, while leaving room for his richly detailed inner life. The film’s stylistic innovations had a profound influence on the French New Wave, and Jean-Luc Godard commented that it “…is, in effect, the most daring of films and the humblest.” Immediately follows the screening of The Mad Masters. (DigiBeta presentation, 72 min. Not Rated.)

Jaguar (1967)
One of Jean Rouch’s classic ethnofictions, Jaguar follows three young Songhay men from Niger, and the legendary performer Damouré Zika on a journey to the Gold Coast. Drawing from his own fieldwork on intra-African migration, Rouch collaborated with his three subjects on an improvisational narrative. The four filmed the trip in mid-1950s, and reunited a few years later to record the sound, the participants remembering dialogue and making up commentary as they went. The result is a playful film that finds three African men performing an ethnography of their own culture. (DigiBeta presentation, 89 min. Not Rated.)

Mammy Water (1956)
On the coast of Ghana, in the shadows of the Portuguese slave forts, lies the Gulf of Guinea. This sea is home to the “surf boys”, teams of expert fisherman who paddle into the ocean in large canoes, sometimes staying at sea for one or even two nights. Their success is governed by water spirits (‘Mammy Water’). Villagers must honor the spirits with a ceremony if they wish to ensure their fortunes. More strictly observational than most of Rouch’s films, it takes an intimate look at the spiritual traditions and the wider life of a West African fishing village. The screening of The Lion Hunters will immediately follow. (DigiBeta presentation, 18 min. Not Rated.)

The Lion Hunters (1965)
Shot on the border between Niger and Mali over a period of seven years, The Lion Hunters is Jean Rouch’s documentation of the lion hunt performed by the bow hunters of the Songhay people. Rouch said that he made the film “to try to give the audience a feeling of what I myself felt as I was learning the way of the lion hunt”. The film portrays the immediacy of the hunt, but it also explores the complex social organization that underlies it, and the difficult questions entailed by its representation. Immediately follows the screening of Mammy Water. (DigiBeta presentation, 77 min. Not Rated.)

Fall 2012

Denis PostersClaire Denis: Confronting the Other
Claire Denis is one of the greatest filmmakers working in the cinema today - period. Her films are visually stunning, technically accomplished and thematically complex. And, in the words of Andrew Hussey of The Observer, she is “fearless”. Her solidarity with the disenfranchised and her sometimes frightening intelligence leads to incisive critiques of the way the personal and political become intertwined, but ultimately invites us to determine what lines are being crossed.

In celebration of her career, the Black Film Center/Archive presents an exhibit at the Herman G. Wells Library, Room 044. Comprising ten original French-release posters for the films of Claire Denis, this exhibit foregrounds the organizing thematics of this umcompromising and principled filmmaker, without equal in her interrogation of the Other. Each of these posters references a film and has its own story to narrate. Each is a constituent of the films' promotional and exhibition histories. And each reflexively questions itself as it depicts the film it claims to represent.

Filming WorkFilming Work: Working Films
Since the birth of the medium, filmmakers have made the struggles of ordinary people for workplace justice a central theme in the cinema. From the early films of Eisenstein to the contemporary work of John Sayles and Ken Loach, work and workers have captured the visual imagination of moviegoers. These films offer historical and contemporary depictions of struggles among the working class. The series is sponsored by Bloomington Jobs with Justice, IU Labor Studies Program, Latino Studies, Center for Latin American and Caribbean Studies, Cultural Studies Program, Department of History, Black Film Center/Archive, and IU Cinema. Special thanks to Alex Lichtenstein. All screenings take place at IU Cinema.

The Killing Floor (1985) Directed by Bill Duke
The Killing Floor explores the conflicting loyalties of African-American stockyards workers in Chicago during the First World War. Starring Damon Leake and Moses Gunn, the story pits a black worker who joins an interracial union against his rival who believes that blacks must look after themselves. Based on impeccable historical research into the lives of actual stockyard workers, this powerful docudrama won the Sundance Film Festival Special Jury Award and was invited to Cannes. (16mm. 118 min. Rated PG.)

Bread and Roses (2000) Directed by Ken Loach
Starring Adrien Brody (The Pianist) as a union organizer and Pilar Padilla as an undocumented worker, Bread and Roses brings Loach’s customary sympathetic portrayal of working people to the story of the immigrants who clean the office towers of Los Angeles. Loach’s gritty, amusing, and spirited fictional film documents the real life organizing drive of “Justice for Janitors,” a key moment in the rebirth of American unions among service workers and the newest generation of immigrants. (35mm. 110 min. Rated R.)