Third World Newsreel
   1967 - present
   New York City

 

The History of  Third World Newsreel  1967-1997*
(*incorporated in 1968 as Camera News, Inc.)

 
The 60s

Newsreel was conceived out of the progressive social movements of the late 1960's. At the height of the Vietnam War and the mobilization of liberation movements worldwide, hundreds of artists and activists were compelled to document events and issues which were being distorted or ignored by the mass media. In December 1967, Newsreel was established in New York City as part of a national network of documentary film collectives. This network produced large numbers of short black and white documentaries quickly and inexpensively, making nearly twenty films during its first year. Their goal was to distribute the programs to the widest audience possible, providing an alternative media that would increase public awareness of topical issues. Within two years, the New York group was joined by chapters established in San Francisco, Boston, Chicago, Portland, Cincinnati, Ann Arbor, Washington D.C.

Newsreel's leftist activism attracted many artists starting their own filmmaking careers, among them were future award-winning producers Norman Fruchter, Susan Robeson, Robert Kramer, Christine Choy, Tami Gold, Allan Siegel and Deborah Shaffer. Newsreel filmmakers conveyed a sense of immediacy and experimentation through their work. They chose as their subject matter issues such as war resistance, campus protests, and racial injustice. They "imported" Vietnamese and Cuban films for distribution in the U.S. Many of their own films stand out as classics, including No Game, America, Chicago Convention Challenge, America, Black Panther, Boston Draft Resistance Group, People's War and Columbia Revolt and Up Against the Wall Ms America.

The 70s

By 1971, the organization's focus began to shift toward diversifying the pool of skilled filmmakers, broadening its constituency, and producing full length documentaries. Women and people of color involved in Newsreel began demanding access to equipment and training, and greater outreach to community-based audiences. Newsreel films such as El Pueblo Se Levanta, Community Control and The Women's Film, reflect this shifting focus.

In 1973, a caucus of African American, Latina/o and Asian members met to evaluate Newsreel's commitment to issues that concerned their communities. New York Newsreel was swiftly redirected to represent international communities of color and was renamed Third World Newsreel. Early works by TWN included Teach Our Children, In The Event Anyone Disappears and From Spikes to Spindles.

The 80's

While film production continued to be the principal focus of the organization throughout the seventies, distribution activity began to emerge as a distinct programmatic division of the organization as more productions became completed and works by makers outside the network were added to the collection. Income from the rental and sale of Newsreel films to universities and community groups financed administrative overhead and operation costs for an enhanced film distribution program. Eight of the eleven TWN films produced in the 80's aired on television, mostly on PBS affiliates. Expanded community-based programs also enhanced the skills and careers of new artists and provided national visibility for the entire organization.

In 1983, TWN began to build its collection of films in distribution, adding to its own catalogue of films those of independent artists outside the organization. Works by Charles Burnett, Camille Billops, Lourdes Portillo, Sankofa Film and Video Collective and Visual Communications were added to the collection. By 1986, distribution had surpassed production as the principle focus of the organization.

Supported by increased earned income, a clear mission, and contributed income from government and private foundations, TWN was able to develop its programmatic foundations. Throughout the eighties, Third World Newsreel:

1. curated local screenings of independent Third World media in NYC's Lower East Side through its Higher Ground Cinema,
2. developed the Advanced Production Workshop, a training program for low income, minority and women emerging artists,
3. produced award-winning films such as To Love, Honor and Obey (1980), Bittersweet Survival (1982), Mississippi Triangle (1984), Namibia: Independence Now! (1986), Chronicle of Hope: Nicaragua (1987) and No Time to Lose (1989),
4. co-sponsored the first Third World Cinema Conference in New York City in 1983;
5. published an Anthology of Asian American Cinema, a book of critical writings, resources, and film listings,
6. packaged touring programs of Third World films such as the 1980-81 Retrospective of Independent Black American Cinema, Journey Across Three Continents in 1985, and Young British and Black in 1988.

A touring retrospective celebrating TWN's 25th anniversary premiered at the Collective for Living Cinema in 1987, accompanied by the release of the first comprehensive catalogue of TWN's collection since 1968.

Throughout the eighties, TWN developed a distinctive role as a leading organization representing the aspirations of people of color working with and using alternative media.

Providing support and services to hundreds of filmmakers, programmers, educators, curators, administrators and technicians, TWN became known for its aggressive affirmative action advocacy, its programs and information services and its film archive. In addition to its training program, TWN provided production offices and facilities to independent productions such a Who Killed Vincent Chin?, by Christine Choy and Renee Tajima, Haitian Corner by Raoul Peck, Daughters of the Dust by Julie Dash, and to the El Salvador Media Project.

During the 80s, TWN came face to face with the video revolution, funding cuts and right wing back lash. The organization strengthened its core programming in distribution and training and began transforming its collection from its foundation in film prints to the increasingly more accessible video formats.

The 90s

Third World Newsreel is now a media center which distributes over 250 film and video titles, continues its exceptional training program that produces a dozen new film/videomakers each year, acts as a fiscal sponsor to 25 productions each year, and is recognized as an advocate for film/videomakers of color.

TWN has produced five of its own new documentaries since 1990: Homes Apart: Korea (1991), A Litany for Survival: The Life & Work of Audre Lorde (1995), The Women Outside: Korean Women & The U.S. Military (1995), and two advocacy documentaries for distribution by the Deep Dish T.V. Network, Can't Jail the Revolution... and Environmental Racism.

Third World Newsreel has continued to curate and co-sponsor provocative exhibitions such as Internal Exile:New Chilean Film and Video, curated by Coco Fusco in 1990, D'Ghetto Eyes: Films and Videos by New Black Latina/o Asian and Native Directors presented at The Kitchen in 1992, Liberation and Alienation in Algierian Cinema with Alia Arasoughly and August Light Productions in1993, and The Writers and Film Series with Jessica Hagedorn and the Donnell Media Center from 1994-1997. A retrospective exhibition celebrating Newsreel's film and video archive will be presented at the Museum of Modern Art beginning in October 1998, ending a series of events celebrating its exceptional 30 year history.

For Additional Reading on Newsreel:

• "Newsreel Film and Revolution", Bill Nichols, Cineaste, Vol. 5 #4, 1973
• "A Decade of Building An Alternative Movement", Debra Goldman, The Independent - Vol. 6 #7, 1983
• "A Decade of Building An Alternative Movement", Debra Goldman, The Independent - Vol. 6 #7, 1983
• "Early Newsreel", Michael Renov, AfterImage, February 1987
• "Newsreel: Old and New--Towards An Historical Profile", Michael Renov, Film Quarterly, Fall 1987
• "Radical Media Review", Coco Fusco, The Independent, Vol.11, #3, April 1988

                           

- From Third World Newsreel