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"slug": "the-l-a-rebellion-how-the-1965-watts-riots-helped-spark-a-cinematic-revolution",
"title": "The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution",
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"content": "\u003cp>In Haile Gerima’s 1975 student film \u003ca href=\"https://www.youtube.com/watch?v=Himxf4s_qgk\">“Bush Mama,”\u003c/a> the character T.C., played by actor Johnny Weathers, leans up against the bars of his jail cell and speaks directly to the camera.\u003c/p>\n\u003cp>“Now ya see this white boy,” says T.C. referring to a white guard.\u003c/p>\n\u003cp>“To guard niggers is within his blood,” says T.C., fingers wrapped tight around the cell bars.\u003c/p>\n\u003cp>“His roots is maybe ‘overseer,’ and we still the son of the slave. That’s what I inherited … all of us!”\u003c/p>\n\u003cfigure id=\"attachment_10633182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"591\" class=\"wp-image-10633182 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1440x1064.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-960x710.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Weathers in a scene from from Haile Gerima’s film “Bush Mama” \u003ccite>(Haile Germia / Youtube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bush Mama” is one of the landmark films to come out of the first wave of black student filmmakers at UCLA, a tightly knit band of experimental, ideological and fiercely independent artists known as the \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion\">L.A. Rebellion\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’d turn the riot-torn streets of Watts and other south L.A. communities into the real-life soundstage for work that bucked the Hollywood system.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218278055″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>In “Bush Mama,” a disillusioned Vietnam War veteran, T.C., is convicted of a crime he didn’t commit. And life at home is starting to unravel for his pregnant wife Dorothy.\u003c/p>\n\u003cp>Much of the film is told through their correspondence.\u003c/p>\n\u003cp>The film was largely improvisational. Scenes filmed on the streets of Watts were shot without permits.\u003c/p>\n\u003cp>“Everything was guerilla style, from getting the equipment out of UCLA to shooting without permits,” says UCLA Film & Television Archive Director Christopher Horak. “’Bush Mama’ opens with the police arresting the crew.”\u003c/p>\n\u003cp>Gerima said he and other young black filmmakers at UCLA wanted to make movies depicting African-American life as it really was — a deliberate counterattack to the outlandish jive-talking hyper-violence of ’70s blaxploitation films like “Super Fly” and its countless imitators.\u003c/p>\n\u003cp>“We revolted so much. We didn’t want to see, respect any Euro-American cinema, even the good ones,” Gerima told an audience at New York’s New School of Media Studies during a retrospective of his work.\u003c/p>\n\u003cp>Gerima says the aim was to elevate, not denigrate African-American life and culture.\u003c/p>\n\u003cfigure id=\"attachment_10633180\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg\" alt=\"Charles Burnett's film "Killer of Sheep" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s.\" width=\"750\" height=\"500\" class=\"size-full wp-image-10633180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Charles Burnett’s film “Killer of Sheep” is a landmark of the L.A. Rebellion shot in and around Watts in the early ’70s. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the (UCLA) film school, we say if black people did jazz, what do they do in film? And so we were responding in a very critical way, saying these narrative devices that were racist for us,” Gerima says.\u003c/p>\n\u003cp>The integration of UCLA’s film school began in earnest during the Civil Rights and anti-war movements of the late 1960s, spurred on in the violent wake of the 1965 \u003ca href=\"https://www.youtube.com/watch?v=8zV9X-E6gc0\">Watts riots\u003c/a>, or “rebellion” as many people prefer to call the week of civil unrest.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Everyone had to be some cool, slick jive mama…And I wanted to see something else.’\u003ccite>Filmmaker Julie Dash\u003c/cite>\u003c/aside>\n\u003cp>“And so it’s really the first generation of minority students at UCLA, and they were not necessarily welcomed,” Horak says.\u003c/p>\n\u003cp>He says what distinguished these filmmakers were a mix of radical politics and gritty street style.\u003c/p>\n\u003cp>“Students as well as professors at UCLA just were not used to seeing that type of content presented in that kind of way,” Horak says.\u003c/p>\n\u003cp>“We were not seen as normal,” laughs director \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/julie-dash\">Julie Dash\u003c/a>.\u003c/p>\n\u003cp>Dash, a New York native, arrived in California in the mid-1970s to pursue graduate studies at UCLA. She would go on to make a number of acclaimed films including 1991’s “Daughters of the Dust.” Dash says the filmmakers who made up L.A. Rebellion stood out for other reasons, too.\u003c/p>\n\u003cp>“Because we spent our lives on campus all the time, in sleeping bags, we just worked around the clock,” Dash says.\u003c/p>\n\u003cfigure id=\"attachment_10634116\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10634116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles stands in for Uganda in Julie Dash’s 1977 short film “The Diary of an African Nun,” based on a short story by Alice Walker. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Either working on our personal films or someone else’s film, and we just found ourselves living pretty much on campus all the time,” Dash says.\u003c/p>\n\u003cp>And the way more senior student directors like Haile Gerima depicted black Los Angeles was a revelation to Dash.\u003c/p>\n\u003cp>“That was not the place that played in my mind when I thought of California, I thought of palm trees and everything you see on television, that narrative of life,” Dash says.\u003c/p>\n\u003cp>One of the most celebrated films to emerge from the L.A. Rebellion is Charles Burnett’s \u003ca href=\"https://www.youtube.com/watch?v=-nXw-8MXhVE\">“Killer of Sheep.”\u003c/a>\u003c/p>\n\u003cp>Burnett, influenced in part by post-War War II Italian neo-realist films that used war-torn cities as their backdrop, took a similar approach.\u003c/p>\n\u003cp>Shot in black and white, the story revolves around a slaughterhouse worker named Stan and his family. Their daily struggles unfold in the blue-collar homes, dusty vacant lots and the crooked alleyways of Watts.\u003c/p>\n\u003cp>Burnett, who went on to make a number of more commercial films like “The Glass Shield” and “To Sleep with Anger,” was unavailable for an interview.\u003c/p>\n\u003cp>But in the commentary from the long-awaited DVD release of “Killer of Sheep,” he talks about his time at UCLA.\u003c/p>\n\u003cp>“We were going to make a difference and introduce new narratives about the black experience and we were reacting against all the negative stereotypes that Hollywood continued to produce,” Burnett says. “You know, turn back to our own stories and try to tell them.”\u003c/p>\n\u003cfigure id=\"attachment_10634102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Charles Burnett’s 1973 short film “The Horse.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from the occasional screening at a library or local theater, the films of L.A. Rebellion would go largely unseen off campus. A lot of the original prints would disappear into attics, garages and in one case, a backyard chicken coop in Compton.\u003c/p>\n\u003cp>“And we found it in the dirt at the very back of the shed after cleaning out for like a whole day,” laughs UCLA’s Christopher Horak.\u003c/p>\n\u003cp>In 2011, UCLA launched in initiative to track down and restore the film of the era.\u003c/p>\n\u003cp>That includes Julie Dash’s first student feature “Illusions,” shot on the UCLA campus.\u003c/p>\n\u003cp>It set the tone for the kind of films Dash would go on to make. Most famously, the critically acclaimed “Daughters of the Dust” — the first feature film directed by an African-American woman to get a major theatrical release and a story Dash was developing while still at UCLA.\u003c/p>\n\u003cp>“I just wanted to explore the culture of African-American women that I was not really seeing,” Dash says.\u003c/p>\n\u003cp>“Everyone had to be some cool, slick jive mama,” Dash laughs. “And I wanted to see something else.”\u003c/p>\n\u003cfigure id=\"attachment_10634103\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634103\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lonette McKee in Julie Dash’s 1982 student film “Illusions.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited exposure, films and filmmakers from L.A. Rebellion left an indelible mark on future black filmmakers like \u003ca href=\"http://www.openculture.com/2014/11/spike-lees-list-of-95-essential-movies.html\">Spike Lee\u003c/a> and John Singleton, both of whom acknowledge the influence of films like “Killer of Sheep” and “Daughters of the Dust.”\u003c/p>\n\u003cp>“The best work holds up really well and there were amazing discoveries we made in this whole process,” says Horak.\u003c/p>\n\u003cp>Many of the films from the L.A. Rebellion era will be included in a 25-DVD box set that will be distributed to schools, libraries and other institutions later this year along with a book published by University of California Press chronicling the movement.\u003c/p>\n\u003cp>“They were very meaningful and they continue to be meaningful,” Dash says. “They document a time period and they document very specific voices we had not seen or heard before. That’s why they’re like treasures.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Treasures that continue to be unearthed, literally dusted off and placed alongside some of the finest films of the era.\u003c/p>\n\n",
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"title": "The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Haile Gerima’s 1975 student film \u003ca href=\"https://www.youtube.com/watch?v=Himxf4s_qgk\">“Bush Mama,”\u003c/a> the character T.C., played by actor Johnny Weathers, leans up against the bars of his jail cell and speaks directly to the camera.\u003c/p>\n\u003cp>“Now ya see this white boy,” says T.C. referring to a white guard.\u003c/p>\n\u003cp>“To guard niggers is within his blood,” says T.C., fingers wrapped tight around the cell bars.\u003c/p>\n\u003cp>“His roots is maybe ‘overseer,’ and we still the son of the slave. That’s what I inherited … all of us!”\u003c/p>\n\u003cfigure id=\"attachment_10633182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"591\" class=\"wp-image-10633182 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1440x1064.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-960x710.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Weathers in a scene from from Haile Gerima’s film “Bush Mama” \u003ccite>(Haile Germia / Youtube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bush Mama” is one of the landmark films to come out of the first wave of black student filmmakers at UCLA, a tightly knit band of experimental, ideological and fiercely independent artists known as the \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion\">L.A. Rebellion\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’d turn the riot-torn streets of Watts and other south L.A. communities into the real-life soundstage for work that bucked the Hollywood system.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/218278055″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/218278055″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In “Bush Mama,” a disillusioned Vietnam War veteran, T.C., is convicted of a crime he didn’t commit. And life at home is starting to unravel for his pregnant wife Dorothy.\u003c/p>\n\u003cp>Much of the film is told through their correspondence.\u003c/p>\n\u003cp>The film was largely improvisational. Scenes filmed on the streets of Watts were shot without permits.\u003c/p>\n\u003cp>“Everything was guerilla style, from getting the equipment out of UCLA to shooting without permits,” says UCLA Film & Television Archive Director Christopher Horak. “’Bush Mama’ opens with the police arresting the crew.”\u003c/p>\n\u003cp>Gerima said he and other young black filmmakers at UCLA wanted to make movies depicting African-American life as it really was — a deliberate counterattack to the outlandish jive-talking hyper-violence of ’70s blaxploitation films like “Super Fly” and its countless imitators.\u003c/p>\n\u003cp>“We revolted so much. We didn’t want to see, respect any Euro-American cinema, even the good ones,” Gerima told an audience at New York’s New School of Media Studies during a retrospective of his work.\u003c/p>\n\u003cp>Gerima says the aim was to elevate, not denigrate African-American life and culture.\u003c/p>\n\u003cfigure id=\"attachment_10633180\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg\" alt=\"Charles Burnett's film "Killer of Sheep" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s.\" width=\"750\" height=\"500\" class=\"size-full wp-image-10633180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Charles Burnett’s film “Killer of Sheep” is a landmark of the L.A. Rebellion shot in and around Watts in the early ’70s. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the (UCLA) film school, we say if black people did jazz, what do they do in film? And so we were responding in a very critical way, saying these narrative devices that were racist for us,” Gerima says.\u003c/p>\n\u003cp>The integration of UCLA’s film school began in earnest during the Civil Rights and anti-war movements of the late 1960s, spurred on in the violent wake of the 1965 \u003ca href=\"https://www.youtube.com/watch?v=8zV9X-E6gc0\">Watts riots\u003c/a>, or “rebellion” as many people prefer to call the week of civil unrest.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Everyone had to be some cool, slick jive mama…And I wanted to see something else.’\u003ccite>Filmmaker Julie Dash\u003c/cite>\u003c/aside>\n\u003cp>“And so it’s really the first generation of minority students at UCLA, and they were not necessarily welcomed,” Horak says.\u003c/p>\n\u003cp>He says what distinguished these filmmakers were a mix of radical politics and gritty street style.\u003c/p>\n\u003cp>“Students as well as professors at UCLA just were not used to seeing that type of content presented in that kind of way,” Horak says.\u003c/p>\n\u003cp>“We were not seen as normal,” laughs director \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/julie-dash\">Julie Dash\u003c/a>.\u003c/p>\n\u003cp>Dash, a New York native, arrived in California in the mid-1970s to pursue graduate studies at UCLA. She would go on to make a number of acclaimed films including 1991’s “Daughters of the Dust.” Dash says the filmmakers who made up L.A. Rebellion stood out for other reasons, too.\u003c/p>\n\u003cp>“Because we spent our lives on campus all the time, in sleeping bags, we just worked around the clock,” Dash says.\u003c/p>\n\u003cfigure id=\"attachment_10634116\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10634116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles stands in for Uganda in Julie Dash’s 1977 short film “The Diary of an African Nun,” based on a short story by Alice Walker. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Either working on our personal films or someone else’s film, and we just found ourselves living pretty much on campus all the time,” Dash says.\u003c/p>\n\u003cp>And the way more senior student directors like Haile Gerima depicted black Los Angeles was a revelation to Dash.\u003c/p>\n\u003cp>“That was not the place that played in my mind when I thought of California, I thought of palm trees and everything you see on television, that narrative of life,” Dash says.\u003c/p>\n\u003cp>One of the most celebrated films to emerge from the L.A. Rebellion is Charles Burnett’s \u003ca href=\"https://www.youtube.com/watch?v=-nXw-8MXhVE\">“Killer of Sheep.”\u003c/a>\u003c/p>\n\u003cp>Burnett, influenced in part by post-War War II Italian neo-realist films that used war-torn cities as their backdrop, took a similar approach.\u003c/p>\n\u003cp>Shot in black and white, the story revolves around a slaughterhouse worker named Stan and his family. Their daily struggles unfold in the blue-collar homes, dusty vacant lots and the crooked alleyways of Watts.\u003c/p>\n\u003cp>Burnett, who went on to make a number of more commercial films like “The Glass Shield” and “To Sleep with Anger,” was unavailable for an interview.\u003c/p>\n\u003cp>But in the commentary from the long-awaited DVD release of “Killer of Sheep,” he talks about his time at UCLA.\u003c/p>\n\u003cp>“We were going to make a difference and introduce new narratives about the black experience and we were reacting against all the negative stereotypes that Hollywood continued to produce,” Burnett says. “You know, turn back to our own stories and try to tell them.”\u003c/p>\n\u003cfigure id=\"attachment_10634102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Charles Burnett’s 1973 short film “The Horse.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from the occasional screening at a library or local theater, the films of L.A. Rebellion would go largely unseen off campus. A lot of the original prints would disappear into attics, garages and in one case, a backyard chicken coop in Compton.\u003c/p>\n\u003cp>“And we found it in the dirt at the very back of the shed after cleaning out for like a whole day,” laughs UCLA’s Christopher Horak.\u003c/p>\n\u003cp>In 2011, UCLA launched in initiative to track down and restore the film of the era.\u003c/p>\n\u003cp>That includes Julie Dash’s first student feature “Illusions,” shot on the UCLA campus.\u003c/p>\n\u003cp>It set the tone for the kind of films Dash would go on to make. Most famously, the critically acclaimed “Daughters of the Dust” — the first feature film directed by an African-American woman to get a major theatrical release and a story Dash was developing while still at UCLA.\u003c/p>\n\u003cp>“I just wanted to explore the culture of African-American women that I was not really seeing,” Dash says.\u003c/p>\n\u003cp>“Everyone had to be some cool, slick jive mama,” Dash laughs. “And I wanted to see something else.”\u003c/p>\n\u003cfigure id=\"attachment_10634103\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634103\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lonette McKee in Julie Dash’s 1982 student film “Illusions.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited exposure, films and filmmakers from L.A. Rebellion left an indelible mark on future black filmmakers like \u003ca href=\"http://www.openculture.com/2014/11/spike-lees-list-of-95-essential-movies.html\">Spike Lee\u003c/a> and John Singleton, both of whom acknowledge the influence of films like “Killer of Sheep” and “Daughters of the Dust.”\u003c/p>\n\u003cp>“The best work holds up really well and there were amazing discoveries we made in this whole process,” says Horak.\u003c/p>\n\u003cp>Many of the films from the L.A. Rebellion era will be included in a 25-DVD box set that will be distributed to schools, libraries and other institutions later this year along with a book published by University of California Press chronicling the movement.\u003c/p>\n\u003cp>“They were very meaningful and they continue to be meaningful,” Dash says. “They document a time period and they document very specific voices we had not seen or heard before. That’s why they’re like treasures.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
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