aiff_program09_interior.xp 3/2/09 4:54 PM Page 23
The Black List: Volumes One and Two Circles of Confusion
documentar
The Black List Volume One 87 minutes
11 minutes a73 2008 a73 USA
a73 2007 a73 USA
Saturday 3:00p Friday 12:00p
The Black List: Volume Two 60 minutes
Plays in: Oscar Docs (p16)a73
2008
a73
USA
Sunday 12p
Director/Producer/Editor/Cinematographer: Phoebe Tooke a73
phoebetooke.com
Director: Timothy Greenfield-Sanders a73 Executive Producers: Payne Brown, Christopher
Winner of the 2008 Student Academy Award in the category of ies
McKee, Scott Richmond, Tommy Walker a73 Producers: Timothy Greenfield-Sanders, Elvis
alternative films, this meditative, experimental documentary
Mitchell, Michael Slap Sloane a73 Cinematographer: Joe Victorine (Volume 2), Graham
Willoughby (Volumes 1 and 2)
wades through the wake of Hurricane Katrina. The filmmaker
a73 Editor: Benjamin Gray (Volume 2), Lukas Hauser (Volume 1)
artfully brings together her impressions of ruined New Orleans
a73 Music/Composer: Neal Evans a73
blacklistproject.com
with the suicide of filmmaker Stevenson Palfi, who lost nearly
This co-creation of former New York Times film critic Elvis
everything in the storm. [adult content]
Mitchell and photographer Timothy Greenfield-Sanders asks
prominent African-Americans of various professions,
Phoebe Tooke
disciplines and backgrounds about their diverse experiences of
Graduate Student: San Francisco State University
being black in America. With clarity and elegance, The Black Director’s Statement
List: Volumes One and Two present portraits of nearly four-
23
dozen notable African Americans who share personal stories of
I initially went back to New Orleans, the
how they became major successes in their fields.
place I called home, to document the
aftermath of Hurricane Katrina, not really
From the public sphere (Al Sharpton, Angela Davis) to athletics knowing what I would do with the footage
(Kareem Abdul-Jabar, Serena Williams) to the arts (Toni Morrison, at the time. I would go out and film by myself and often not see
Slash, Laurence Fishburne), this staggeringly impressive group of another soul all day. The extent of the devastation was worse
subjects speaks candidly with Elvis Mitchell, who keeps his own than what I could have ever imagined, but what struck me the
undeniable charisma and charm off-camera. Taken together, these most was the feeling of being in a place and time that felt like
voices reflect the breadth and scope of the modern African the end of the world. It is hard to describe the feeling of what if
American experience at its richest and most inspiring. [language] felt like to be there. Trying to convey the emotional impact of
Hurricane Katrina was the inspiration for this film.
Join the AIFF’s 2009 Rogue Award Recipient at his talk—Elvis
Mitchell: Past, Present and Future (p15).
Filmography: Alloy, Flugtag, Hotel City
Elvis Mitchell
Producer’s Statement
I thought it would be great to use this as the opportunity to
reclaim “the black list” and make it a positive thing and rescue
Hersey House
it, because so much of black culture has been about reclamation
and putting a good spin on what is bad anyway.
Enjoy a gourmet breakfast in a
Timothy Greenfield-Sanders
1904 craftsman home with lush
gardens, within walking distance
Director’s Statement
to downtown. Rooms have
A couple years ago, Elvis and I discussed doing something on
private bath & air conditioning.
the African-American experience. We sat down and had 175
Cottage sleeps six.
names and an idea for a book, a movie, and a traveling show. So
I think it was something that was meant to be.
541-482-4563 · 451 N. Main, Ashland
www.herseyhouse.com
Filmography: Karen Finley: Shut Up and Love Me, Lou Reed: Rock and Roll Heart,
Thinking XXX
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84