I have spent most of my adult life working with survivors of traumatic circumstances including war, genocide, disease, and slavery, first as a relief worker and then as a documentary filmmaker. These experiences have taught me again and again the resilience of the human spirit and the healing power of compassion.
I am a child of divorce, and the mother of two young children. When my partner and I separated, I searched extensively for information, resources and support to help our children through this experience. In spite of discovering a wealth of literature and professional expertise for adults, I found few media tools to help me guide my children through the challenges they faced.
My film SPLIT is a candid, poignant, and often humorous film about kids and divorce made exclusively from the point of view of children. There are no adults and no experts – just kids speaking the powerful truth of what is on their minds and in their hearts as their families change. It is a tool to help children of divorce begin to talk, process, and heal … and to encourage parents to choose a less contentious path as they move through separation.
One of the films that touched me as a young woman is Amalie Rothschild’s Nana, Mom and Me. Today it is a classic film; in the seventies it broke new ground. Using photographs, old home movies and direct interviews with her mother and grandmother as well as herself, Rothschild explores the mother-daughter ties in three generations of her own family. In the process she explores the classic female problem faced by her artist mother: the conflict between work and children – the necessary compromises, the incumbent anxieties. The structure is intentionally loose and open-ended, like a good conversation, emphasizing the need to ask the right questions rather than give pat answers.
Recently I watched Rothschild’s film again, this time as a mother struggling with many of the same issues nearly four decades after the film was made. Returning to the film I thought about how the first-person approach has persisted and evolved over the decades. According to the American University Center for Social Media, “Personal essay films are particularly good at dramatizing the human implications and consequences of large social forces.”
I spoke with several New Day filmmakers who included themselves on-screen, and found many didn’t set out to include themselves in their films. Some found themselves taking a first-person approach for strategic reasons. In the film By Invitation Only, about the elite, white Carnival societies and debutante balls of Mardi Gras, director Rebecca Snedeker started working with cinema verite footage and interviews. Over time, though, she realized that,
“I had questions that I wanted the film to explore that we could not clearly address through my central character. The first-person narrative allowed us to tease out topics, to gently ask questions and offer reflections. These debutante and carnival traditions are such a foreign, mysterious world to most people, even here in New Orleans, and images of them conjure immediate assumptions and prejudices; just showing the observational footage I was able to capture probably wouldn’t have moved many viewers to a new place, or inspire them to consider the push and pull of other traditions and status quo situations in their own lives.”
Similarly, Kelly Anderson decided to put her own story, as a Brooklyn “gentrifier,” into My Brooklyn after she had been editing the film for several years. “I was worried it would be too self-indulgent – another filmmaker in her own movie? Please!” she says. But her perspective, as a white person who was concerned with issues of racial and economic equality, but who had also been part of demographic change in formerly Black or Latino neighborhoods, proved a good entry point for many viewers. “In the end, it was about making a policy-dense film feel more approachable and interesting, and also about the ethics of representing others in a situation you are a part of, and how to do that honestly,” Anderson says.
When she moved to Alaska, vegetarian Ellen Frankenstein was confronted with new eating challenges, and decided to make a film about it. “I wanted to make an environmental film focused on food, but I didn’t want to point fingers or do it in a simple style,” Frankenstein says. “I didn’t set out to be in Eating Alaska. I put myself in the film as the provocateur, on a journey to figure out what made sense to eat. It has been a great tool for allowing audiences to talk about the choices they make everyday.”
Some of the most compelling reasons filmmakers put themselves into their own films are ethical. In the case of Dan Lohaus, whose film When I Came Home is about homeless veterans on the hard streets of New York City, it was his own sense of humanity that drove him to “cross the line” and include himself. When his lead character Herold contemplates suicide as winter sets in, the filmmaker allows him to sleep on his couch. When Dan steps in front of the camera and has to invite a buddy in to film the turn of events, the objective relationship is altered, as is the film’s style and structure.
There are a million stories in New York, and the third one I will mention is my own film No Dinosaurs In Heaven. I was also hesitant to include my image and voice-over, but I felt it was dishonest not to let the audience know that I was in fact a student in the biology class of the creationist professor. I felt his behavior was dishonest, and that I needed to be very up front about my relationship to him and to the topic of creationism. No film had ever attempted to diagram the way an individual can manipulate liberal educational philosophy into a tolerance for creationism in the science classroom. It was my point of view that a creationist could not teach science, and in fact he was deliberately hiding his anti-science belief to promote religion.
Some filmmakers find the power relations inherent in documentary filmmaking reversed when their subjects draw them into the filmmaking process. Asian American filmmaker Debbie Lum began work on Seeking Asian Female intending to make an objective film about men who are obsessed with Asian women. “The original idea was to turn the tables on these men and make an objective film about their objectification of Asian women,” Lum says. But when the main character in her film found a woman in China who was half his age to come live with him in San Francisco, she found herself in an unexpected position. “As I filmed and sparks flew, they began to lean on me to translate and my role morphed from documentary observer to marriage counselor. The journey that all three of us went on was full of unexpected lessons, not the least of which was that we all had quite ingrained stereotypes that we had to confront as we got to know each other more personally.”
The family is the most obvious choice for personal stories in social issue films and New Day has several deeply personal and daringly intimate films. In Father’s Day, Mark Lipman uses evocative home movies and poetic imagery to immerse viewers in conversations about death, suicide, mental illness, memory and the choices we make in creating a family. In Sunshine,Karen Skloss explores the meaning of family through her own journey to understand the legacy of her own birth and the nontraditional family she created by co-parenting with her ex-boyfriend. “These kinds of films hold great risk of being self-indulgent,” Skloss says. “But I thought that if it were honest enough and went deeply enough that it would resonate for an audience and open up a lot of areas for conversation – which it has.”
Unlike Reality TV or programming strands that rely on formulaic story structure – usually two central characters on either side of an issue – New Day embraces many storytelling devices. This makes our collection both strong in its diversity and evergreen as we delve deeply and sometimes personally into the zeitgeist of our times.
More than 60 years ago, the UN General Assembly approved the Universal Declaration of Human Rights, declaring the “inherent dignity” and “equal and inalienable rights” of all human beings as the “foundation of freedom, justice and peace in the world.” Order your New Day titles for Universal Human Rights Month now.
Choose films that tell a compelling story. Stories provide the conduit for conveying information. Most people don’t remember pure facts – but we are hard-wired to remember stories. Ask students to share their own stories as a counterpoint to the film’s stories.
Check if the film has a companion study guide. Many New Day films include guides that offer detailed background information on the film’s subject, notes on running a successful discussion, a sample lesson plan, and additional resources.
Frame the film prior to viewing. Explain which elements relate to the course, e.g. anthropology students might identify moments of cultural significance and their relationship to the topic of study. Film is a rich medium, and students often need framing to notice and process the types of information most relevant to their learning.
Assign a feature film like you would assign a book. Use class time for discussion and collaboration. This allows students to time-shift their learning, review the film on their own, and take notes at their own pace. Most New Day titles are available via online streaming.
Don’t discount the power of the moving image. Students often learn in a deeper and more thorough way through visual media!
Pair two films together. Contrasting films on similar subjects from different regions, eras, or cultures can highlight commonalities and differences across a wide spectrum of issues.
Use a film to open up discussion on a difficult topic, such as race, gender, religion, adoption, or sexuality. Film is an emotional medium, and social justice documentaries can often elicit deeper and more thoughtful classroom discussions than texts.
Ask students to write down three quick “take-aways” from the film, before discussion starts. What did they find enlightening, compelling, or relevant? Collect the statements and share them aloud. The variety of observations may be surprising.
Organize a cross-disciplinary screening series. Including multiple departments helps save funds in tight budget times, and also inspires rich interdisciplinary discussions about issues that can be looked at from many points of view.
Use a film as a starting point for research or project assignments. Films are a powerful tool for getting students interested in a particular topic. Ask students to identify an element in the film – a character, a group, a location – and create an independent project around it.
Invite the filmmaker to your class, to enrich the students’ understanding of the material. Ask students to turn in questions for the filmmaker ahead of time, and prepare a few questions of your own. Many New Day filmmakers are available for Q&A, either via Skype or in person.
New Day filmmakers joined more than 300,000 people at the People’s Climate March on September 21 in New York City, adding our collective voice to the growing effort to force global leaders to address climate change. For post-march activities, check out New Day’s extensive collection of environmental titles here.
At the turn of the 20th Century, various Native Americans campaigned for a national day of recognition for the contributions of the first Americans to the culture and heritage of the United States. A hundred years later, we have an entire month designated for that purpose! Check out New Day’s titles that tell the stories and history of indigenous people in the United States and beyond.
I’m a San Francisco-based Asian American woman who was born in Virginia and raised in the Midwest. All my life I’ve been hit on and harassed by men who are obsessed with Asian women, and I’ve always wanted to know why so many Western men develop “Yellow Fever” or “Asian Fetish.”
My documentary film Seeking Asian Female tells the story of two strangers – an aging white man with an “Asian fetish” and a young woman from China. They meet online and attempt to build a marriage from scratch in California. During the filming, I became their translator and eventually their marriage counselor.
“Asian fetish” and the objectification of Asian women is a very loaded issue in the Asian American community, yet had always been unrecognized by the mainstream. I tried to approach the subject with honesty and a sense of humor to engender open discussion and shed light the assumptions and prejudices that exist on all sides. Seeking Asian Female ‘s raw, intimate drama is a universal love story for the ages — albeit a complicated one.
I had been involved in solidarity work since 2003 to raise awareness about the violent murders of women in Juarez, Mexico, and that work connected me to feminists working in Guatemala. I began production on a documentary film, Justice for My Sister, which follows a Guatemalan single mother of five on a heroic journey to hold her sister’s killer accountable. When I myself became a target of sexual assault, and experienced first-hand the corruption and complicity of the Guatemalan justice system, I decided my film needed to do more than raise awareness – it needed to be part of a bigger violence prevention campaign. I formed the Justice for My Sister Collectivewith advocates in Guatemala and Los Angeles, and we’ve published a trainer’s training guide, a text-message campaign toolkit, and an activity booklet. We’ve held workshops and screenings with indigenous communities, immigrants, survivors of violence, service providers and police in 20 countries and counting. The film has won Best Documentary in Holland, Los Angeles, Bolivia, and Central America. I have toured universities and embassies to promote healthy relationships, and have since established a non-profit organization in LA to continue the campaign’s work.
Hispanic Heritage Month begins on September 15, the anniversary of independence of five Latin American countries: Costa Rica, El Salvador, Guatemala, Honduras and Nicaragua. Mexico, Chile and Belize also celebrate their independence days during this period. New Day has an extensive collection of films — including several brand new ones — that celebrate and explore the culture and politics of Latinos in the US and beyond.
October is National Community Planning Month
Each year the American Planning Association sponsors National Community Planning Month to raise the visibility of the important role of planners and planning in communities across the U.S. The theme for 2014 is Health and Prosperity. New Day has an exciting array of films about urban planning and related issues that can raise dialogue and encourage participation in your community.
For most New Day filmmakers, the reason we make documentary films has as much to do with social and political impact as it does with festival awards, box office returns or DVD sales. Though we all know our films contribute to education and change in broad ways, in this article we look at how change can be sparked when just one person sees the right film at the right time.
NSA whistleblower Edward Snowden was being interviewed via Skype by Daniel Ellsberg at the recent Hope X conference, and at the head of the interview, after thanking Ellsberg for his service, Snowden went on to say, “I watched a a documentary of your life as I was grappling with these [whistleblowing] issues myself. It had a deep impact; it really shaped my thinking.” The documentary Snowden was referring to was The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers, by New Day filmmaker Rick Goldsmith and Judith Ehrlich.
In search of an example of an older New Day film’s influence on the sway of history, we communicated with Amanda Blackhorse, the Navajo social worker who decided to sue the NFL in Blackhorse v. Pro-Football, Inc. Since she was an undergraduate at the University of Kansas, Blackhorse has been profoundly troubled by the use of the name “Washington Redskins” as a mascot. She took this concern to court and on June 18, 2014, the United States Patent and Trademark Office voted to cancel the six trademarks held by the team in a decision that held that the term “redskins” is disparaging to a “substantial composite of Native Americans.” Of course the case is already in appeal, but nevertheless we decided to ask Blackhorse if she had ever seen Jay Rosenstein’s In Whose Honor, a 1997 documentary that takes a critical look at the practice of using American Indian mascots and nicknames in sports, and is still widely used today.
Here’s what Blackhorse had to say:
“The documentary influenced me as far as understanding the way in which Native mascots perpetuate the dehumanization of Native American people. Seeing how disrespectful and brutal people were toward Charlene Teters (in the film) was an eye opener. The waters are usually calm until a Native American stands up to injustice and the backlash has no mercy. I saw first hand how power, money, and white privilege hold more power with regard to Native mascots than do Native Americans themselves.”
Whether we’re looking at the astonishing array of recent Global Warming themed films, the surge of Gay and Lesbian voices in our culture, or our very earliest documentaries that speak to the women’s rights movement of the 1970s, films like these in our New Day Films collection continue to reveal the way that media can change the direction of American history, sometimes by inspiring one person.