7 results for your search
See details
Anne Braden: Southern Patriot
directed by Mimi Pickering, fl. 1975-2012 and Anne Lewis, fl. 1986-2012 (San Francisco, CA: California Newsreel, 2012), 1 hour 17 mins
Anne Braden: Southern Patriot provides a moving, in-depth biography of an organizer and journalist who for a remarkable 60 years participated in the most significant movements for racial and economic justice in this country’s most conservative region - the South. Rev. Dr. Martin Luther King, Jr. praised her stea...
Sample
directed by Mimi Pickering, fl. 1975-2012 and Anne Lewis, fl. 1986-2012 (San Francisco, CA: California Newsreel, 2012), 1 hour 17 mins
Description
Anne Braden: Southern Patriot provides a moving, in-depth biography of an organizer and journalist who for a remarkable 60 years participated in the most significant movements for racial and economic justice in this country’s most conservative region - the South. Rev. Dr. Martin Luther King, Jr. praised her steadfast activism in support of civil rights and civil liberties, but she was threatened, attacked, indicted and labeled a 'Communist agit...
Anne Braden: Southern Patriot provides a moving, in-depth biography of an organizer and journalist who for a remarkable 60 years participated in the most significant movements for racial and economic justice in this country’s most conservative region - the South. Rev. Dr. Martin Luther King, Jr. praised her steadfast activism in support of civil rights and civil liberties, but she was threatened, attacked, indicted and labeled a 'Communist agitator' and 'race traitor' by white supremacists. Her conservative background gave her special insight into white racism, why it poses such a great obstacle to social change in this country and what progressive white people can do to end it. Braden’s work as a journalist in Alabama and Kentucky in the late 1940’s along with her husband, Carl's, activities with unions and the small yet energetic left-wing community in the South, made her sensitive to the social inequalities all around her. In 1951, Braden joined a delegation of white women who traveled to Mississippi to prevent the execution of Willie McGee, a black man falsely accused of raping a white woman. Her experience in that case and others led her to write 'A Letter to White Southern Women' a groundbreaking – and controversial - statement on the intersection of race and gender. The 1954 landmark Brown v. Board of Education Supreme Court decision ignited a fierce backlash and mob hysteria among Southern segregationists. That same year, the Bradens purchased a house in a 'white' neighborhood in suburban Louisville on behalf of an African American couple. Racists bombed the house and the Bradens along with other supporters were charged with being responsible and indicted for fomenting discord among the races! Carl Braden was convicted and sentenced to 15 years but, the Supreme Court nullified state sedition laws. The Bradens waged a successful campaign to have all the indictments thrown out. Undaunted, the Bradens joined the staff of the Southern Conference Educational Fund (SCEF). Anne edited their publication, The Southern Patriot, which became known as the most reliable, up-to-date source on the unfolding Civil Rights struggle. In the late 1960's, the Bradens and SCEF answered the call by some black activists to build progressive movements among poor and working class whites by supporting the GROW Project in Alabama and the Southern Mountain Project in Appalachia (for which the Bradens were again charged with sedition in 1967). Anne Braden persevered after Carl's death in 1975, fighting an anti-busing campaign and police brutality in Louisville, organizing against a resurgent KKK, leading Jesse Jackson’s presidential campaign in Kentucky and challenging the notion of 'reverse discrimination'. She convincingly countered that whenever black people won gains, poor and working class whites benefitted as well. Cornel West, Bernice Johnson Reagon, Rev. C.T. Vivian, Angela Davis and biographer, Catherine Fosl discuss the far reaching implications of Anne Braden's life of activism for today. This film will enlighten students in American History, Women's Studies, and Social Movements courses as well as Diversity Training programs.
Show more
Show less
Field of Study
Women's Studies
Content Type
Documentary
Author / Creator
Mimi Pickering, fl. 1975-2012, Anne Lewis, fl. 1986-2012
Date Published / Released
2012-07
Publisher
California Newsreel
Person Discussed
Anne Braden, 1924-2006
Topic / Theme
Racism, Social conflict, Segregation, Women, Civil rights
Copyright Message
Copyright © 2012 by California Newsreel
×
See details
Femmes aux Yeux Ouverts
directed by Anne-Laure Folly, 1954-; produced by Amanou Production (California Newsreel, 1994), 51 mins
"A respectable women should learn from her husband,She shouldn't read,She shouldn't have her eyes open." A poem by a Burkinabe woman
A film about African women is a rarity, even more, one made by an African woman. In Femmes Aux Yeux Ouverts, award-winning Togolese filmmaker, Anne-Laure Folly presents portraits of...Sample
directed by Anne-Laure Folly, 1954-; produced by Amanou Production (California Newsreel, 1994), 51 mins
Description
"A respectable women should learn from her husband,She shouldn't read,She shouldn't have her eyes open." A poem by a Burkinabe woman
A film about African women is a rarity, even more, one made by an African woman. In Femmes Aux Yeux Ouverts, award-winning Togolese filmmaker, Anne-Laure Folly presents portraits of contemporary African women from four West African nations: Burkina Faso, Mali, Senegal and Benin. The film shows how African women are..."A respectable women should learn from her husband,She shouldn't read,She shouldn't have her eyes open." A poem by a Burkinabe woman
A film about African women is a rarity, even more, one made by an African woman. In Femmes Aux Yeux Ouverts, award-winning Togolese filmmaker, Anne-Laure Folly presents portraits of contemporary African women from four West African nations: Burkina Faso, Mali, Senegal and Benin. The film shows how African women are speaking out and organizing around five key issues: marital rights, reproductive health, female genital mutilation, women's role in the economy and political rights.Femmes Aux Yeux Ouverts introduces us to many unforgettable African women. we meet a woman who has taken refuge in a convent from a forced marriage. We join a community health worker demonstrating condom use in a marketplace. An activist describes why it is more effective to attack female "circumcision" as a health issue rather than as a women's rights issue. Women entrepreneurs, who control trade in major cities explain how they have formed their own mutual aid societies. A Malian woman, who lost her daughter in the 1991 pro-democracy demonstrations, describes how women continue to play a key role in the Malian revolution.Femmes Aux Yeux Ouverts shows how women are organizing at the grassroots level to insure their participation in the continent's current move towards democracy. It has screened to enthusiastic women's audiences across West Africa, reinforcing their demands for a place at the center of the development process. Show more Show less
Field of Study
Women's Studies
Content Type
Documentary
Contributor
Amanou Production, Anne-Laure Folly, 1954-
Author / Creator
Anne-Laure Folly, 1954-
Date Published / Released
1994
Publisher
California Newsreel
Speaker / Narrator
Anne-Laure Folly, 1954-
Topic / Theme
Equality, Women's issues, Women's rights, Women, Africans
Copyright Message
Copyright © 1994 California Newsreel
×
See details
Maquilapolis: City of Factories, With Audio Description
(California Newsreel, 2006), 1 hour 8 mins
Carmen Durán works the graveyard shift in one of Tijuana’s 800 maquiladoras; she is one of six million women around the world who labor for poverty wages in the factories of transnational corporations. After making television components all night, Carmen comes home to a dirt-floor shack she built out of cast-of...
Sample
(California Newsreel, 2006), 1 hour 8 mins
Description
Carmen Durán works the graveyard shift in one of Tijuana’s 800 maquiladoras; she is one of six million women around the world who labor for poverty wages in the factories of transnational corporations. After making television components all night, Carmen comes home to a dirt-floor shack she built out of cast-off garage doors from the U.S., in a neighborhood with no sewage lines or electricity. She suffers from on-the-job kidney damage and lead...
Carmen Durán works the graveyard shift in one of Tijuana’s 800 maquiladoras; she is one of six million women around the world who labor for poverty wages in the factories of transnational corporations. After making television components all night, Carmen comes home to a dirt-floor shack she built out of cast-off garage doors from the U.S., in a neighborhood with no sewage lines or electricity. She suffers from on-the-job kidney damage and lead poisoning from her years of exposure to toxic chemicals. She earns six dollars a day on which she must support herself and her three children. Starting in the 1980s the U.S. and Mexican governments initiated a trade agreement allowing components for everything from batteries, IV tubes, toys to clothes to be imported duty-free into Mexico, assembled there and then exported back duty-free as finished consumer goods for sale in the U.S. Tijuana became known as the television capital of the world, ‘TV-juana.’ Globalization promised jobs, and working class Mexicans uprooted their lives to flock to the northern frontier in search of better paying work. After a decades long boom in 2001, Tijuana suffered a recession as corporations chased after even cheaper labor in Asia. While Maquilapolis shows that globalization gives corporations the freedom to move around the world seeking cheaper labor and more lax environmental regulations, it also demonstrates how organized workers can successfully demand that the laws be enforced. Thanks to her persistence in demanding severance pay, Carmen’s house now has concrete floors. And thanks to her new knowledge of labor rights, she has since taken another factory to the labor board for a violation similar to Sanyo’s; she hopes one day to go to school and become a labor lawyer. Globalization turns workers into a commodity which can be bought anywhere in the world for the lowest price. Yet they are more than a commodity; they are human beings who demand to be treated with dignity. As one of Carmen’s colleagues says, “I make objects and to the factory managers I myself am only an object, a replaceable part of a production process. I don’t want to be an object, I want to be a person, I want to realize my dreams.”
Show more
Show less
Field of Study
Business & Economics, Diversity
Date Published / Released
2006
Publisher
California Newsreel
×
See details
The Willmar 8
directed by Lee Grant, 1927-; produced by Mary Beth Yarrow, fl. 1980, Julie Thompson, fl. 1980 and Lee Grant, 1927-, G. T. Y. Productions (San Francisco, CA: California Newsreel, 1980), 51 mins
The Willmar 8 is Academy Award winner Lee Grant's documentary about working women which has been featured on the front page of The Wall Street Journal, excerpted on 60 Minutes, and was broadcast nationally by PBS. The film tells the story of eight unassuming, apolitical women in America's heartland--Willmar, Minne...
Sample
directed by Lee Grant, 1927-; produced by Mary Beth Yarrow, fl. 1980, Julie Thompson, fl. 1980 and Lee Grant, 1927-, G. T. Y. Productions (San Francisco, CA: California Newsreel, 1980), 51 mins
Description
The Willmar 8 is Academy Award winner Lee Grant's documentary about working women which has been featured on the front page of The Wall Street Journal, excerpted on 60 Minutes, and was broadcast nationally by PBS. The film tells the story of eight unassuming, apolitical women in America's heartland--Willmar, Minnesota--who were driven by sex discrimination at work to take the most unexpected step of their lives and found themselves in the forefro...
The Willmar 8 is Academy Award winner Lee Grant's documentary about working women which has been featured on the front page of The Wall Street Journal, excerpted on 60 Minutes, and was broadcast nationally by PBS. The film tells the story of eight unassuming, apolitical women in America's heartland--Willmar, Minnesota--who were driven by sex discrimination at work to take the most unexpected step of their lives and found themselves in the forefront of the struggle for women's rights. Risking jobs, friends, family and the opposition of church and community, they began the longest bank strike in American history in a dramatic attempt to assert their own equality and self-worth.
Show more
Show less
Field of Study
Women and Social Movements
Content Type
Documentary
Contributor
Mary Beth Yarrow, fl. 1980, Julie Thompson, fl. 1980, Lee Grant, 1927-, G. T. Y. Productions
Author / Creator
Lee Grant, 1927-
Date Published / Released
1980
Publisher
California Newsreel
Topic / Theme
Unfair labor practices, Labor laws, Bankers, Gender discrimination, Women's rights, Labor strikes, Americans
Copyright Message
Copyright © 1980 California Newsreel
×
See details
Africa Dreaming, Sophia's Homecoming
directed by Richard Pakleppa, 1961-; produced by Bridget Pickering, fl. 1996-2014, Onland Productions, in Africa Dreaming (San Francisco, CA: California Newsreel, 1997), 26 mins
Sophia's Homecoming reminds us that the devastating personal effects of the massive social dislocations caused by apartheid can never be erased. Sophia, like so many other women, becomes a self-reliant provider for her family, working as a domestic for a white family in Windhoek for 12 years. When her husband Naf...
Sample
directed by Richard Pakleppa, 1961-; produced by Bridget Pickering, fl. 1996-2014, Onland Productions, in Africa Dreaming (San Francisco, CA: California Newsreel, 1997), 26 mins
Description
Sophia's Homecoming reminds us that the devastating personal effects of the massive social dislocations caused by apartheid can never be erased. Sophia, like so many other women, becomes a self-reliant provider for her family, working as a domestic for a white family in Windhoek for 12 years. When her husband Naftali finally finds a job, she returns home with the dream of resuming her former family life. She quickly discovers that during her abs...
Sophia's Homecoming reminds us that the devastating personal effects of the massive social dislocations caused by apartheid can never be erased. Sophia, like so many other women, becomes a self-reliant provider for her family, working as a domestic for a white family in Windhoek for 12 years. When her husband Naftali finally finds a job, she returns home with the dream of resuming her former family life. She quickly discovers that during her absence her sister Selna has replaced her in the affections of her children - and her husband. Naftali reluctantly admits that he prefers Selna; he is ashamed of Sophia because she has had to support the family. Sophia pressures Selna to leave but her sister confesses she is pregnant with Naftali's child. Sophia realizes that she alone has developed the strength to make a new life for herself and returns with her three children to Windhoek, an ironic homecoming.
Show more
Show less
Field of Study
Women's Studies
Content Type
Performance
Contributor
Bridget Pickering, fl. 1996-2014, Onland Productions
Author / Creator
Richard Pakleppa, 1961-
Date Published / Released
1997
Publisher
California Newsreel
Series
Africa Dreaming
Topic / Theme
Family, Women in workforce, Marital estrangement, Sisters
Copyright Message
Copyright © 1997 California Newsreel
×
See details
Made in L.A.
directed by Robert Bahar, 1977- and Almudena Carracedo, fl. 2007; produced by Robert Bahar, 1977- and Almudena Carracedo, fl. 2007, Semilla Verde Productions, POV and Independent Television Service (San Francisco, CA: California Newsreel, 2007), 1 hour 10 mins,
Source: itvs.org
Source: itvs.org
Made in L.A. traces the moving transformation of three Latina garment workers on the fault lines of global economic change who decide they must resist. Through a groundbreaking lawsuit and consumer boycott, they fight to establish an important legal and moral precedent holding an American retailer liable for the...
Sample
directed by Robert Bahar, 1977- and Almudena Carracedo, fl. 2007; produced by Robert Bahar, 1977- and Almudena Carracedo, fl. 2007, Semilla Verde Productions, POV and Independent Television Service (San Francisco, CA: California Newsreel, 2007), 1 hour 10 mins,
Source: itvs.org
Source: itvs.org
Description
Made in L.A. traces the moving transformation of three Latina garment workers on the fault lines of global economic change who decide they must resist. Through a groundbreaking lawsuit and consumer boycott, they fight to establish an important legal and moral precedent holding an American retailer liable for the labor conditions under which its products are manufactured. But more than this, Made in L.A. provides an insider's view into both the...
Made in L.A. traces the moving transformation of three Latina garment workers on the fault lines of global economic change who decide they must resist. Through a groundbreaking lawsuit and consumer boycott, they fight to establish an important legal and moral precedent holding an American retailer liable for the labor conditions under which its products are manufactured. But more than this, Made in L.A. provides an insider's view into both the struggles of recent immigrants and into the organizing process itself: the enthusiasm, discouragement, hard-won victories and ultimate self-empowerment.
Show more
Show less
Field of Study
Women's Studies
Content Type
Documentary
Contributor
Robert Bahar, 1977-, Almudena Carracedo, fl. 2007, Semilla Verde Productions, POV, Independent Television Service
Author / Creator
Robert Bahar, 1977-, Almudena Carracedo, fl. 2007
Date Published / Released
2007
Publisher
California Newsreel
Topic / Theme
Labor strikes, Factory workers, Immigration and emigration, Women, Immigrant life, Working conditions, Latinos
Copyright Message
Copyright © 2007 California Newsreel
×
See details
Maquilapolis: City of Factories
directed by Sergio De La Torre, 1972- and Vicky Funari, fl. 1986; produced by Sergio De La Torre, 1972- and Vicky Funari, fl. 1986, Independent Television Service (San Francisco, CA: California Newsreel, 2006), 1 hour 8 mins
Carmen Durán works the graveyard shift in one of Tijuana’s 800 maquiladoras; she is one of six million women around the world who labor for poverty wages in the factories of transnational corporations. After making television components all night, Carmen comes home to a dirt-floor shack she built out of cast-of...
Sample
directed by Sergio De La Torre, 1972- and Vicky Funari, fl. 1986; produced by Sergio De La Torre, 1972- and Vicky Funari, fl. 1986, Independent Television Service (San Francisco, CA: California Newsreel, 2006), 1 hour 8 mins
Description
Carmen Durán works the graveyard shift in one of Tijuana’s 800 maquiladoras; she is one of six million women around the world who labor for poverty wages in the factories of transnational corporations. After making television components all night, Carmen comes home to a dirt-floor shack she built out of cast-off garage doors from the U.S., in a neighborhood with no sewage lines or electricity. She suffers from on-the-job kidney damage and lead...
Carmen Durán works the graveyard shift in one of Tijuana’s 800 maquiladoras; she is one of six million women around the world who labor for poverty wages in the factories of transnational corporations. After making television components all night, Carmen comes home to a dirt-floor shack she built out of cast-off garage doors from the U.S., in a neighborhood with no sewage lines or electricity. She suffers from on-the-job kidney damage and lead poisoning from her years of exposure to toxic chemicals. She earns six dollars a day on which she must support herself and her three children.
Starting in the 1980s the U.S. and Mexican governments initiated a trade agreement allowing components for everything from batteries, IV tubes, toys to clothes to be imported duty-free into Mexico, assembled there and then exported back duty-free as finished consumer goods for sale in the U.S. Tijuana became known as the television capital of the world, ‘TV-juana.’ Globalization promised jobs, and working class Mexicans uprooted their lives to flock to the northern frontier in search of better paying work. After a decades long boom in 2001, Tijuana suffered a recession as corporations chased after even cheaper labor in Asia.
While Maquilapolis shows that globalization gives corporations the freedom to move around the world seeking cheaper labor and more lax environmental regulations, it also demonstrates how organized workers can successfully demand that the laws be enforced. Thanks to her persistence in demanding severance pay, Carmen’s house now has concrete floors. And thanks to her new knowledge of labor rights, she has since taken another factory to the labor board for a violation similar to Sanyo’s; she hopes one day to go to school and become a labor lawyer.
Globalization turns workers into a commodity which can be bought anywhere in the world for the lowest price. Yet they are more than a commodity; they are human beings who demand to be treated with dignity. As one of Carmen’s colleagues says, “I make objects and to the factory managers I myself am only an object, a replaceable part of a production process. I don’t want to be an object, I want to be a person, I want to realize my dreams.”
Show more
Show less
Field of Study
Women's Studies
Content Type
Documentary
Contributor
Sergio De La Torre, 1972-, Vicky Funari, fl. 1986, Independent Television Service
Author / Creator
Sergio De La Torre, 1972-, Vicky Funari, fl. 1986
Date Published / Released
2006
Publisher
California Newsreel
Topic / Theme
Women's rights, Labor disputes, Globalization, Manufacturing industry, Factory workers, Mexicans
Copyright Message
Copyright © 2006 California Newsreel
×
