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With the recent decision by the Trump administration to rescind DACA (Deferred Action for Childhood Arrivals), the lives of 800,000 undocumented young people and their families have been thrown into complete disarray. New Day filmmakers Brenda Avila-Hanna and Corey Ohama have been monitoring the proceedings closely for some time now. As the directors of two films that feature undocumented young people known as “DREAMers,” they understood full well how devastating the administration’s decision could be to DACA recipients and their communities.

This September, in solidarity with DREAMers across the country, the two directors are offering free streams of their short films Vida Diferida (Life, deferred) and I Was Born in Mexico, But…. on their website We spoke to the filmmakers to learn more about their projects and the impact of recent events on their subjects.

Vida Diferida (Life, deferred)

New Day (ND): What drove you to create your films?

Brenda: I met Vanessa, the subject of Vida Diferida (Life, deferred), when I was a middle school teacher and Vanessa was one of my students. I began to notice that over the years, her aspirations of becoming a doctor and her excellent grades took a backseat to preparing to live an adulthood in the shadows because she was undocumented. As an immigrant myself, I realized that she was an American in every way except in paper, yet she didn’t have a shot at acquiring legal residency like I did. How was it possible that someone so deserving had to settle for so little in the land that she loved? Why did the immigration system favor some and block so many others?

Corey: My film I Was Born in Mexico, But… is centered on the voice of a young woman who lives in my small hometown in Northern California and whom I’ve known for several years. Because I’ve had experience working in a local tax business, she approached me and asked for help applying for an ITIN number (a number that undocumented people use to legally file their tax returns). I was caught off guard– it had never crossed my mind that she might be undocumented. We ended up having a long talk and I got my first clear picture of the incredible challenges faced by these young people who are forced to live in a kind of legal limbo.

I Was Born in Mexico, But….

ND: How has DACA affected your subjects’ lives?

Corey: I interviewed my subject before DACA was even created. There were no work permits and no driver’s licenses. It was hard for undocumented young people to envision their futures. The psychological stresses were intense—from having to worry about getting pulled over while driving, to feeling rejected by the country you loved. DACA helped a lot. It took away the everyday fears and provided a work permit: my subject was able to get a professional license in the field she studied. Now, of course, with DACA being rescinded, everything is up in the air again.

Brenda: The original concept for the film was to document Vanessa’s transition into adulthood and the gradual shift in goals and aspirations due to her undocumented status. A few years into documenting this, DACA happened. As a 17-year-old young woman, Vanessa had to make the decision to share her entire family history with the U.S. government. In spite of the potential risks, her family supported her decision. Immigration law can be so complex and dehumanizing. This film also reflects on the fact that for every DACA recipient, there is a loving family and community taking on a enormous risk and embarking on an emotional roller coaster.

ND: Where do we go from here?

Corey: Education around immigration is so important. Almost one out of every four children in the U.S. is an immigrant or a child of immigrants. Because our nation is making the crucial decision right now what the future of these young people will be, we wanted to make our films available to be part of the discussion. You can help by viewing the films and sharing them with your students, colleagues and communities. See for yourself how personal stories can break down barriers, stimulate discussion and foster understanding about issues like immigration that are often contentious and abstract. I also recommend checking out these other films in the New Day collection that feature undocumented youth or parents: I Learn America, Sin País (Without Country), Life on the Line, and Abrazos.

Brenda: For those who want to get directly involved, you can encourage Congress to pass legislation to grant permanent protection and a pathway to citizenship for DREAMers. Call your representatives and show up at town halls. Attend rallies! Use social media to amplify the voices of the DREAMers who lead the movement (#heretostay). For a centralized, reliable source of information on DACA and a concrete list of actions visit, and

From now until the end of September, Vida Diferida (Life, deferred) and I Was Born in Mexico, But….will be streaming for free at

To purchase the films for your classroom or library, visit New Day Films. Enter the promo code DACA15 at checkout for a 15% discount.

Filmmaker Brenda Avila stands with her father and son in a multi-generational show of support for DACA at a recent rally




by Jay Rosenstein

Twenty years ago, on July 15, 1997, at precisely 8PM Central time, I took my dog out for a walk.

I don’t remember that exact detail because of a legal case, a witness statement, or a trial. I remember it because that was the moment when my four-long-years-in-the-making documentary, In Whose Honor?, about the controversial use of American Indian mascots in sports, hit the airwaves for the first time. It was the first television broadcast ever in my hometown of Champaign, Illinois. One hour later, the film would be shown to the rest of the nation on PBS.

I was too restless to sit at home and watch the broadcast, so the dog and I decided we might as well circle the neighborhood.

Although the documentary had received a huge amount of advance publicity, I wasn’t at all prepared for what I would encounter on our walk. As I peeked into the windows of the houses as we passed, every house with a TV on had it tuned in to the same thing: My documentary. Every. Single. One. It was a very strange feeling.

When I returned home, my wife had just finished packing. As the documentary aired on our local PBS station, my wife, my dog, and I jumped in the car and drove three blocks to a hotel, where we would be spending the night.

A vacation? Hardly. We left the house just in case someone tried to bomb it or burn it down. If that sounds extreme to you, consider that every person I had told in advance of our plan had the same reaction: “That’s probably a good idea.”

When the program’s national broadcast hit the air at 9PM on the PBS series POV, the series’ Executive Producer Lisa Heller, along with a Native American publicist she had hired, plus all sorts of other POV big-wigs and New York City V.I.P.s, gathered in a beautiful Manhattan location to celebrate the broadcast of my film. Meanwhile, my wife, dog, and I hid in a central Illinois hotel.

That was twenty years ago.

Thankfully, nothing happened to my house. But such was the environment in Champaign, Illinois, at the time. The film was very critical of the University of Illinois’ American Indian sports mascot, Chief Illiniwek. Speaking against “the Chief” in 1997 elicited a reaction not unlike that when John Lennon famously stated the Beatles were more popular than Jesus.

The University of Illinois did, however, eventually get a measure of revenge against me. Three years later, I was set to be hired as a faculty member. But in what is always just a pro-forma Board of Trustees approval exercise, three members of the University’s Board of Trustees actually voted to block my hiring. Two of the three had been interviewed in the film; the third had barged into the room where I was filming an interview, insisting that I interview her as well.

Ultimately, my hiring was approved, by a 6 – 3 vote, giving me the distinction of being the only faculty member in the history of the University of Illinois to be hired without unanimous Board of Trustees approval. That goes to show the kind of out-of-proportion emotional devotion there was to this mascot. I consider it a badge of honor.

Jay Rosenstein films a mascot (1998)

That’s about it for the negative things that happened over the twenty years since the film was released, save for a couple of stray letters. As for the positives, there are so many I hardly know where to begin.

The television broadcast of In Whose Honor? was, when it comes to Native American rights activism, the shot heard ‘round the world. The film immediately became a unifying force for the many disparate groups and individuals who had been championing the movement to rid the country of racially stereotyped American Indian sports mascots and reclaim Native American identity for Native American people. It not only solidified and energized the efforts of these various groups, it also shot the issue into a kind of public awareness overdrive. Kenneth Stern, then of the American Jewish Committee and one of the very first supporters of the efforts of Native American activist Charlene Teters, who is the main subject of the film, expressed it best when he wrote, “The film has sped up the educational curve on this issue by at least a decade.”

I felt this energy on the very first day after the film’s national broadcast. That morning, I went to work as usual. But at noon I received a strange phone message from my wife. “You better get home right now. The phone keeps ringing, and I think there’s something wrong with the answering machine.”

I ran home to see what was happening. There was nothing wrong with the answering machine. At that time, answering machines recorded messages on tape, and the 30-minute tape on our machine had completely filled up that morning, and calls were continuing to come in. It took me a week just to sort them all out.

At dozens of schools around the country, In Whose Honor? played a key role in helping to rid those schools of their Native American mascots and nicknames. And it wasn’t just at individual schools—local and even statewide school boards were being persuaded to create policies eliminating all their Native nicknames and mascots. The cities of Dallas and Los Angeles are two of the early school boards that I recall taking such action. In some cases, these efforts even eventually worked their way up to state legislatures, where lawmakers in states like Wisconsin and California took up the issue.

The one place where I am well aware of the film’s role was with the National Collegiate Athletic Association, or NCAA, the governing body for all of college athletics. In 1998, about a year after the release of the film, I received a phone call from someone at the NCAA. They wanted ten copies of In Whose Honor? to distribute to the members of their Minority Affairs Committee. Some time later, the NCAA released a statement on behalf of that committee, recommending that all their member schools drop their Native American mascots and nicknames. I was thrilled that the film had played a part in that decision, but nothing seemed to come of it afterwards.

I wasn’t at all prepared for the shock I would experience when, in 2004, the NCAA itself announced that the eighteen member schools with Native American nicknames or mascots would have to get rid of them or face penalties. That NCAA policy led to my home school, the University of Illinois, finally eliminating its racist mascot, Chief Illiniwek, the mascot that was the original target of my film. I was elated, not only for the result, but also for the fact that my work had played a role in the final outcome.

Of course, it hasn’t just been victory after victory. You’ve heard of the Washington Redskins, right? The Atlanta Braves? Kansas City Chiefs? The Cleveland Indians’ indefensibly racist cartoon logo, Chief Wahoo? All still there. When last fall’s once-every-hundred-year miracle occurred, and my boyhood team, the Chicago Cubs, were breaking the longest championship dry-spell in professional athletics, I couldn’t watch a single game because of the nauseating sight of Chief Wahoo on Cleveland’s uniforms. So there is much work still to be done.

Jay and the film’s main character, Charlene Teters (2016)

But things are moving in the right direction. When Charlene Teters, the main character featured in In Whose Honor?, was selected as the ABC World News person of the week a few months after the film’s broadcast, anchor Peter Jennings practically apologized while introducing her so as not to offend his millions of pro-sports viewers. Yet by 2014, when Native American activist Amanda Blackhorse was suing to end the trademark protection for the Washington Redskins, both The Daily Show and South Park absolutely skewered the team, its owner, and its fans, without the slightest hint of apology. That’s one measure of progress. As for Amanda Blackhorse, she was first motivated to become involved in the fight against American Indian mascots after watching a documentary while she was a student at the University of Kansas. The film? In Whose Honor?

And the University of Kansas is hardly the exception. As an educational tool, In Whose Honor? is used in most every college and university in America today, and is one of the most requested films in the history of its educational distributor,  New Day Films. After twenty years, its relevance as an educational text for teaching about not just mascots, but race, stereotyping, and identity continues unabated.

I have made several documentaries since that PBS broadcast of In Whose Honor?, some more successful in film festivals (ERASED), and some more successful in garnering awards (THE LORD IS NOT ON TRIAL HERE TODAY—a Peabody Award winner). But In Whose Honor? is by far the most impactful film I have ever made, and probably ever will. It’s really the crowning achievement of my life (other than, of course, my children). When I die, I suspect the obit in the local Champaign-Urbana newspaper will read ” Jay Rosenstein, made anti-Chief Illiniwek documentary.”

And you know what? If that’s the case, I couldn’t be more proud.

Stream In Whose Honor? for free from now until September 20. Visit the film’s New Day page, add a 14-day streaming license to your cart, and enter promo code NDNIWH at checkout. Happy viewing!






Hispanic Heritage Month runs from September 15 to October 15, coinciding with the anniversaries of independence of several countries including México, Chile and Guatemala. Follow the rise of immigrant rights in Chicago in 2006-2007 through  Immigrant Nation!  by Esau Melendez—a topic that is all too relevant today.   Justice for my Sister, by Kimberly Bautista,  follows one Guatemalan woman during her three-year battle to hold her sister’s killer accountable. Palenque: Un Canto delves into the African heritage of the Colombian village where filmmaker Maria Raquel Bozzi grew up.  Explore these films and more here.

Palenque: Un Canto



October is National Disability Awareness Month, a time to educate about disability issues and to celebrate the contributions of Americans with disabilities. In UNSTUCK, filmmakers Kelly Anderson and Chris Baier document OCD through kids’ eyes only, avoiding sensationalism and instead revealing the complexity of a disorder that affects both the brain and behavior. Concerning Barriers is a collection of three films by Reid Davenport that center the perspectives of people with disabilities, including those on opposing sides of issues. Who Am I to Stop It, by Cheryl Green, centers the narratives of six artists with traumatic brain injuries, creating complex portraits that go beyond medical aspects of brain injury. Learn more about New Day’s wide range of films on disability here.






Meet New Day: Emily Abt

Emily Abt

Captured over two years, my film Daddy Don’t Go tells the story of four disadvantaged dads in New York City as they struggle to defy the odds against them. I wanted to pay homage to every disadvantaged father who negates the “deadbeat dad” stereotype with a deep love for his children. These men, much like my own father, are often trying to be the dads they themselves never had. I made the film to bring new and positive images of fatherhood to a national audience.

I remember when we were filming one of our subjects in criminal court and the judge asked him if he was willing to let us continue to film him there, assuring him that it was completely up to him if our cameras stayed or left. I held my breath. I knew that if he said yes it would be a huge act of trust on his part. He turned around, looked at me and then nodded to the judge. I knew in that moment that so much of my hard work had paid off.

Daddy Don’t Go seems to be very moving to dads and parents who struggle. One of our screenings was held in the Bronx for the homeless men of the “Ready, Willing and Able” program– 70% of whom are fathers. I saw misty eyes and heard a few sniffles during the screening. No one moved to get up after it ended. I got dozens of handshakes, hugs and thank you’s as the men left the room. Screenings like that make you feel like all your efforts are worthwhile.

Learn more about Emily Abt’s work here.

New Day Launches New Streaming Platform

By Briar March


New Day Films is excited to announce the launch of its fully
integrated streaming platform. Customers can now stream films and order DVDs directly from the New Day website — with streaming licenses that range from two weeks to seven years.

Our distribution co-op has remained committed to maintaining an independent streaming platform for almost a decade. Back in 2007, when Netflix moved into streaming, New Day Films also decided to stay ahead of the curve by launching its own streaming initiative. With the help of Seattle Community College TV (SCCTV), it developed New Day Digital: a website that allowed higher education institutions to stream our independent social issue documentaries.

In 2014, when we received the news that SCCTV was pulling out of the streaming game, we saw this transition moment as an opportunity to offer our customers an even more enhanced streaming experience. With the help of new streaming partner CMI, we decided to merge New Day Digital with New Day Film’s freshly revamped website. Filmmaker Paco de Onís headed up the small team of New Day filmmakers tasked with overseeing this integration. As he notes, New Day Films has always seen an independent streaming platform as vital to its future as a digital distributor. He writes, “As independent filmmakers, having our own platform empowers us in a way that makes it possible for us to continue making fiercely independent social issue documentaries. This has been New Day’s primary mission since 1971.”

New Day’s new and improved streaming platform is the product of two years of careful research and development. Customers with older licenses purchased through New Day Digital should continue to experience uninterrupted service. As with New Day Digital,  the new integrated platform emphasizes our capacity to deliver customized solutions on a customer-by-customer basis, backed up by our easy to reach and responsive customer service team.  Streams are delivered via IP authentication or from a user panel on our site — making it easy for students and professors to watch our films from school or home.

And New Day customers will have more to look forward to in the future! In Phase 2 of the streaming upgrade, currently in development, customers will be able to access new tools to enhance their viewing experience, including searchable video and the ability to “quote” parts of the film by clipping. They will also have the option to stream a thematic collection of films within New Day, or to stream the entirety of New Day’s rich archive.  

If you need assistance with the new purchasing process, or have any other questions about the upgrade, please feel free to contact us at


samantha-farinellaI am a New York City-based filmmaker from a blue-collar background interested in illuminating stories and histories that are seldom taught. My film Hunting in Wartime profiles Tlingit veterans from Hoonah, Alaska, who saw combat during the Vietnam War. They talk about surviving trauma, relating to Vietnamese people, readjusting to civilian life, and serving a government that systematically oppresses native people. Their stories give an important human face to the combat soldier and show the lasting effects of war on individuals, families and communities.

The main impetus behind this project was to support, document and preserve Tlingit history. There isn’t a great deal of documentation regarding Tlingit history because the Tlingit community uses verbal storytelling. The film is only a piece in what we hope is a lasting historical media presence for Hoonah’s Vietnam veterans and a broader transmedia project that explores racism, history and war from a uniquely Native American perspective.

I was also drawn to the story partly because the Vietnam War has always intrigued me—as a student, activist, and filmmaker. I was born while the war was still taking place and my family watched the carnage nightly on television. Those images must have left an indelible effect on me.

The process of making the film was an emotional one. The most significant moment in the production process was when fellow producer Christie George and I interviewed Tlingit Veteran Kenny Austin in Hilo, Hawaii. He gave us a very long and intense interview. We took him out to dinner afterwards and when we gave him a ride home, we realized he had walked over two miles to meet us for the interview. At the time Ken was close to 80 years of age and not in the best of health. The experience confirmed how important it is for the veterans to have their stories heard. We knew we had to tell this story as best as we could.

Learn more about Samantha’s work here

Transgender Awareness Month

Prodigal Sons

November is also Transgender Awareness Month, a time to raise visibility of and expose challenges faced by transgender and gender non-conforming people. New Day’s catalogue includes a number of films about trans people. In Prodigal Sons, a trans woman returns home to Helena, Montana, and confronts her complicated relationship with her brother, opening the doorway to a journey of revelations. Trinidad acquaints viewers with three trans women whose paths cross in Trinidad, Colorado, the “sex-change capital of the world.” The Year We Thought About Love is a story about a queer youth theater project, and includes the coming out process of a young black trans woman.

See our full collection here.



Sophie Sartain
Sophie Sartain

I am a writer and filmmaker based in Los Angeles. My film Mimi And Dona is a personal documentary about my grandmother Mimi and my aunt Dona, who was diagnosed with an intellectual disability as a child and lived with my grandmother her entire life. When Mimi was 92, she finally admitted that she could no longer care for Dona, then age 64. This set in motion the events chronicled in Mimi And Dona.

When I first went to Dallas to film Mimi and Dona, I wasn’t sure if I was making a home movie, or a larger film. I mainly wanted to capture their life together. They were sweet and quirky Texas characters. My brothers and I often wondered if Dona could have lived a more independent and potentially “bigger” life away from home; on the other hand, she and Mimi were happy. They had a lot of fun together and were close companions for decades. We wondered if a move away from Mimi was the right thing for Dona. Would Mimi fall apart without her?

Back in Los Angeles, whenever I told people about Mimi and Dona’s situation, they would chime in that they knew someone in the same predicament—a cousin, a neighbor or a friend’s sibling, some with developmental disabilities, others with mental illnesses, all struggling to find appropriate care and housing for a loved one. This was an untold story happening all around us, with aging caregivers like my grandmother facing agonizing decisions, often with little support or guidance.

The response to Mimi And Dona has been amazing. After a national broadcast on PBS’s Independent Lens, it was named “One of the Best TV Shows of 2015” by Neil Genzlinger of The New York Times, who called it a “beautiful portrait of parental commitment.” Viewers identify with the characters and say that the film stays with them long after they watch it. Equally gratifying has been the response from professionals who work with people with intellectual and developmental disabilities. They appreciate the film’s intimate and honest look at the dynamics within a family, something they don’t normally see if they interact with individuals outside the home. They are also grateful for the film shining a spotlight on an issue they come across frequently in their work – finding appropriate care and housing for a vulnerable population that is aging, right along with their caregivers.

Learn more about Sophie’s work here.

Top Ten Tips for Teaching Disability Themes in the Classroom

By Nomy Lamm

October is Disability Awareness Month, and it’s the perfect time to make sure that Disability Studies, Art, Culture and Politics are

Mimi and Dona - Square
Mimi and Dona

integrated into any topic you are teaching. Whether you’re teaching Social Work, Medicine, Gender Studies, Black History, Performance Studies, or Early Childhood Development, examining and learning from a disabled experience will provide a fuller and deeper understanding of the course materials for your students. Below are some guidelines to help integrate the perspectives of people with disabilities into your classroom.


  1. DON’T perpetuate the myth of the “tragic cripple.” You know, the story where someone is disabled and miserable, and everything they do is so hard, and everyone around them is brought down by their struggle, and then maybe they almost achieve happiness but then… they die. Learn to identify this trope so you can call it out when you see it.  DO offer stories and examples of people with
    The Key of G

    disabilities who are living complex, full lives, who are in reciprocal relationships, who make choices and have life journeys. Mimi and Dona, one of New Day’s recent acquisitions, documents the symbiotic relationship between an aging mother and her disabled daughter, offering a useful jumping off point for analyzing dynamics of inter/dependence. The Key of G is another film that shows a disabled person growing and changing in the context of a community who loves them.                                 

  2. DON’T teach our stories solely through the lens of the medical establishment, or assume that all people with disabilities want a cure. DO examine complexities of access to health care,

    allocation of resources, and how these privileges break down along race/class/age/gender lines. Fixed is a useful documentary for examining the politics of “human enhancement” and the impetus toward “fixing” people’s bodies rather than taking care of people’s basic needs.

  3. DON’T succumb to the false-positive messaging of ‘inspiration porn’ – you know, the story about the amazing disabled person who, despite all their hardship
    WAITSI production still RGB
    Who Am I to Stop It

    s is still able to rise above and overcome their circumstances, inspiring able-bodied people to say, “If they can do it, what’s my excuse?” This narrative centers the able-bodied experience and perpetuates competitive, ableist constructions of “success” and “failure.” DO share materials created by people with disabilities where we frame our own experiences. Who Am I to Stop It is a compelling documentary about three artists with traumatic brain injuries, made by a filmmaker with disabilities from brain injury.

    Michael and His Dragon
  4. DON’T hold up one type of disability as the “true” disability.  Disability is an intentionally broad category that includes people with mobility impairments, people who belong to sensory minorities, people with psychiatric disabilities, chronic illnesses, learning disabilities, cognitive challenges, chronic pain, and more. DO
    When I Came Home

    encourage awareness of the ways our society disables us by stigmatizing the ways we show up in the world. Michael and His Dragon and When I Came Home both follow soldiers who return from Iraq with Post Traumatic Stress Disorder. Twitch and Shout is about people with Tourette Syndrome, a neurological condition that is often misunderstood.

    Twitch and Shout
  5. DON’T perpetuate unconscious use of ableist language that frames disability as bad.  This includes words like “crazy” when you mean abusive, “lame” when you mean uncool, or “blind” when you mean ignorant, or even words like “weak” or “stupid” that imply ableist hierarchies. DO examine the use of identity labels, including “disability” itself – how are these words used by people who identify with them? Identify nuances of language that differentiate between what we want others to call us, and what we call ourselves. In
    Mind Game

    Mind/Game: The Unquiet Journey of Chamique Holdsclaw, the most powerful opportunities for healing come when Chamique is able to connect with others who share similar circumstances, to release the shame and isolation associated with words like “crazy.”

  6. DON’T feed into stereotypes of disabled people as sexless and childlike. People with disabilities have desires, are desired by other people, enjoy sex (solo, partnered, in groups…), have relationships, and experience all the ups and downs and ins and outs that come with being an embodied being. People with disabilities are also at high risk of sexual assault, so sex education is crucial to understanding what is happening and knowing that we have a choice. DO promote work by disabled people that explores sexuality. Sins Invalid follows the eponymous Disability Justice performance project and movement-building organization that creates work around disability and sexuality, centralizing artists of col
    Makind Noise in Silence

    or and queer and gender-variant artists with disabilities.

  7. DON’T isolate disability from other identities, or play ableism against other forms of oppression. There are disabled people in every demographic, so any struggle for justice and liberation also affects people with disabilities.  DO share examples of people navigating simultaneous experiences of racism, ableism, sexism, and more. Making Noise in Silence looks at intersections of deafness, youth, immigration, and race in the lives of two young deaf Korean students. E Haku Inoa: To Weave a Name
    E Haku Inoa To Weave A Name square still
    E Haku Inoa

    looks at the impact of colonization on a mother’s mental health.

  8. DON’T assume that people with disabilities are always in the position of receiving but not giving. Many of us who are disabled are also caregivers, therapists, parents, medical professionals, teachers, and healers. DO look at the ways our lives change over time and how the amount and type of care we receive and offer fluctuates at different moments. States of Grace follows the story
    States of Grace
    States of Grace

    of Dr. Grace Dammann, a pioneering AIDS specialist whose near-fatal car accident changes her perception of self and relationship to her body and family.

  9. DON’T assume that nobody in the classroom has the disability you’re discussing. Disabled people are not a separate group – “they” are part of the “we” that you’re speaking to. DO model accessibility in the classroom by providing opportunities for access needs to be identified, including bio breaks, seating options, lighting changes, large print, captions, audio description, scent-free space, or whatever the individuals in your class might need in order to participate. Most New Day Films are closed captioned, and a number of them including Fixed, Sins Invalid, The Key of G, and Who Am I to Stop It are audio described fo
    Read Me Differently

    r blind audiences. For more thoughts about classroom accessibility issues, Read Me Differently is a powerful New Day film about a young woman’s learning differences.

  10. DON’T imagine that you will always be able-bodied!  Everybody experiences some type of disability in their life, whether it’s a temporary injury or surgery, a chronic illness, an accident, or just getting old and losing abilities over time. DO co-create a world that recognizes and respects the many ways we live in our minds and bodies.  

Explore New Day’s rich collection of films on Disability here.