Browse Items (14 total)

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gift from filmmaker. Yvonne is my longtime friend and collaborator. I teach her films frequently in courses on feminist, queer, and documentary film. We co-edited Sisters in the Life: A History of Out African-American Media Making (2018).

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Dub for teaching. I used these films often in my first years teaching feminist and women's film. Maybe Women Make Movies or the artists sent them to me for research for Women of Vision.

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Gift from filmmaker. I believe I acquired many of Charlene's films when I wrote a letter of evaulation for her as a fellow academic. I also knew her socially from Philly when I was making The Watermelon Woman with Cheryl Dunye.

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Gift from filmmaker. I believe I acquired many of Charlene's films when I wrote an evaluation letter for her. I also knew her from Philly when I was making "The Watermelon Woman." She acted in some of the photos for the Fae Richards Archive.

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Gift from filmmaker. Yvonne is my longtime friend and collaborator. I teach her films frequently in courses on feminist, queer, and documentary film. She was one of the subjects for my project, Women of Vision. Later yet we co-edited the scholarly…

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Someone gave this to me to teach with, I'm not sure I ever did, and know little about it. At Pitzer, I was a strong champion for both Ethnic Studies and Affirmative Action.

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gift from filmmaker. Sam is the daughter of my friend and colleague, Faye Ginsburg, who gave me the video to teach with.

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Gift from filmmaker Susan Mogul. She was one of the subjects of my documentary, Women of Vision, and I also brought her often to Pitzer college to screen her tapes. She became a colleague and friend.

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Dub of VHS filmed from 16mm print projected on a wall. I taught this film frequently in feminist film classes.

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I teach this film in feminist documentary because of its groudbreaking integration of documetary and fiction as well as for Gomez's important role as a woman filmmaker within Third cinema.

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I believe this dub was a gift to me from another professor to be used for research on my documentary and book, "Women of Vision." She was a successful woman director during the silence period.

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This dub was a gift to me from another Professor at Pitzer so that I could use it to teach women's and feminist film. Not sure I ever did.

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This is a critical contribution to the history of feminist documentary, as it is situated within activist film. It links the women's movement to contemporaneous organizing and thinking about class and race, and understands access to filmmaking and…

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I taught this film for many years. It felt utterly cutting edge to me, primarily for its no-holds-barred attack on racism from Sandra Bernhard's debased position of whiteness. It's cheeky queerness also felt utterly new in its time.
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