Public-Inaccessible Class Resources

Please email AskTheTheoryQuestion@gmail.com (not case sensitive) if these materials become free online!

1991 Art of Darkness, Part 1 – David Dabydeen, 1991, 32 minutes.

2015 Sugar Coated, Michèle Hozer & Roxana Spicer, 57:28 minutes. treat like law case

2004 Le Malentendu Colonial [The Colonial Misunderstanding], Jean-Marle TENO, Cameroon, 73 minutes, in French, German, and English.

2014 Brand New You, Katherine SENDER, 53 minutes.

2003 Race: The Power of an Illusion, Episode 2 — The Story We Tell, Tracy Heather Strain, PBS, 2003, 55 minutes.

1995 WEB Du Bois: A Biography In Four Voices, Louis MASSIAH (Producer/Director) And (4 Writers/Narrators) Wesley BROWN, Thulani DAVIS, Toni Cade BAMBARA, & Amiri BARAKA. 116 minutes.

2004 Fahrenheit 9/11, Micheal Moore, 122 minutes.

1998 “The Re-Birth of the Aesthetic in Cinema,” in Cylde TAYLOR, The Mask of Art, 103-23.

2016 The Occupation of the American Mind: Isreal’s Public Relations War in the United States, Jason YOUNG, Jeremy EARP, Loretta ALPER, Sut JHALLY, Media Education Foundation, 85 minutes.

2010 Mean World Syndrome: Media Violence & the Cultivation of Fear, 51 minutes.

1995 Ian Haney-Lopez, “White by Law: The Legal Construction of Race,” in Critical Race Theory: The Cutting Edge (Temple University Press): 542-549.

1997 “Introduction,” Representation and the Media, featuring Stuart Hall, Sut Jhally, Media Education Foundation.

Items taken from Weekly Syllabi from Spring 2017 WMDs: Cinema Against War, Imperialism, and Corporate Power

Documentary Filmmakers’ Statement of Best Practices in Fair Use

Documentary Filmmakers’ Statement of Best Practices in Fair Use

Excerpt taken from text:

‘Fair use’ is a key part of the social bargain at the heart of copyright law, in which as a society we concede certain limited individual property rights to ensure the benefits of creativity to a living culture. We have chosen to encourage creators by rewarding their efforts with copyright. To promote new cultural production, however, it also is important to give other creators opportunities to use copyrighted material when they are making something new that incorporates or depends on such material. Unless such uses are possible, the whole society may lose important expressions just because one person is arbitrary or greedy. So copyright law has features that permit quotations from copyrighted works to be made without permission, under certain conditions.

Irreconcilable Anti-Blackness: A Conversation With Dr. Frank Wilderson III

On April 19th, Dr. Frank Wilderson gave a lecture in Rose Hills theater at Pomona College (Claremont, CA). Students from WMDs: Cinema Against War, Imperialism, and Corporate Power organized the event. Sarahann Latimer Kolder recorded and edited the video.

Sections:

  1. Introduction 
  2. Dr. Frank Wilderson ((00:03:10) – (00:43:30))
    1. Introduction (00:03:10)
    2. Lecture (00:05:50)
  3. Q & A
    1. (00:43:35) Question: ‘Integrity of Gender’ and ‘Black People as Currency’
    2. (00:52:06) Question: ‘Anti-Blackness’ and ‘Activism’
    3. (00:58:20) Question: “I am human too”
    4. (01:09:00) Question: ‘Complacency and Belonging’
    5. (01:16:50) Question: ‘Temporal Irreconcilability’ and ‘Fugitivity’
    6. (01:26:10) Question: ‘Rehabilitation of ‘Human’’ and ‘Social Death’
    7. (01:34:00) Question: ‘White Women in Power,’ ‘Structural Analysis of Gender’ and ‘Explanation’

Click to view transcript

For more information, click to listen to Dr. Wilderson’s interview with The Killer Bs on police violence within the context of anti-Blackness