SDFF Alum Ben Proudfoot Collabs with NY Times OpDocs
Off to Sundance, IDA
Hands of grandfather Horace Bowers (top) and grandson Kris Bowers from Ben Proudfoot and Kris Bowers’s short A Concerto Is A Conversation, one in a series of New York Times OpDoc collaborations, available to stream here.
Ben Proudfoot, whose SDFF 2020 entry That’s My Jazz, was a fan favorite, is seeing his ongoing collaborations with the New York Times OpDocs celebrated across the film world. The short A Concerto is a Conversation, co-directed by composer Kris Bowers was recently accepted to Sundance 2021, while Almost Famous: The Lost Astronaut has been shortlisted for the 2020 International Documentary Association Awards.
A Concerto is a Conversation was part of a NY Times series, “Can’t be with your grandparents? Watch this instead,” which was released around Thanksgiving 2020, a family holiday many people endured in isolation due to pandemic-related safety precautions. The film tells the story of a virtuoso jazz pianist and film composer Kris Bowers, who also a co-directs the film, and his relationship with his grandfather Horace. The titular concerto refers to the mirrored conversations tracked by the film—one between soloist and orchestra, the other between grandfather and grandson, as Kris traverses his family’s lineage through his 91 year-old grandfather, from Jim Crow Florida to the Walt Disney Concert Hall. In conversation, Kris draws a personal tale from his grandfather that seems to encompass the history of 20th Century racism in America as it goes, from the explicit segregation of the deep south to the implicit bias and quiet bigotry that compelled Horace to conduct business via mail to obscure his skin color after he’d moved west. Told in the warmly lit spaces of the family home, the short is as much an homage to the relative safety and support of family and the complex beauty of intergenerational relationships as it is about the harsh social spaces Horace has occupied throughout his life. The film is lovingly rendered and feels deeply appropriate to a moment in which so many are losing their family elders. See Proudfoot talk about the film and its upcoming Sundance appearance in this Nashville Noise interview.
Another of Proudfoot’s OpDoc shorts, Almost Famous: The Lost Astronaut, is a short film that renders systemic and spectacular forms of racism visible and examines how they shape the life of black astronaut Ed Dwight Junior in a historic context. Although Dwight Jr. should have been the first black man on the moon, his story is emblematic of how systemic racism and individual bigotry combined to keep him grounded despite excelling in virtually every relevant field. When NASA made this decision, Dwight Jr. had already completed the gauntlet required for astronauts, an extraordinarily taxing regimen, the difficulty of which was compounded by openly hostile racism. After resigning from the Air Force, Dwight would become a successful entrepreneur, an engineer, and, eventually, a vaunted artist and sculptor. Earlier this year, SDFF featured this film and the educational material that accompanies it from The Learning Network Film Club earlier in the year, which provides material for families to help address cultural issues with their children. The film has been shortlisted for IDA’s 2020 awards.
Proudfoot and the Times are also responsible for the profoundly moving “Cause of Life,” a set of five short films made as the US death toll hit 318,00, which attempts to understand the gravity of America’s shared loss by celebrating the gifts people who lost their lives to coronavirus left behind.
Revisiting Hillbilly
2018 DOC RESONATES IN THE PRESENT DAY, PROVIDES CONTEXT FOR HILLBILLY ELEGY ADAPTATION, AND THE CRITICAL DISCOURSE AROUND IT
Behind-the-scenes. Production still from the making of hillbilly (Ashley York and Sally Rubin, 2018), an SDFF 2019 Official Selection that is currently available to stream on both Netflix and Amazon Prime.
When Netflix delivered Ron Howard’s film adaptation of J.D. Vance’s bestseller Hillbilly Elegy: A Memoir of a Family in Crisis to the small screen after the 2020 election, it returned the autobiographical work and the ways in which it had been used during the 2016 election to heavy public scrutiny. Though Vance has been critical of the Trump administration, the book was released amid a contentious national election, and became almost omnipresent across a diverse array of media and news outlets. In general, both book and author as “authentic” voices of the rural, working-class, conservative, white Americans whose votes put President Donald Trump into office. Ironically, the veracity of the hillbilly archetype that Vance both perpetuates and criticizes was purposefully developed and maintained across American popular culture since the 1870s. That history is made tangible in Sally Rubin and Ashley York’s 2018 documentary hillbilly, the relevance of which has only grown in the years since its release. The documentary poses questions about the relationship between representation, perception and systemic oppression that have become central to understanding American cultural and political life and personal experiences within it. As Sally Rubin, co-Director of (Sally Rubin and Ashley York, 2018) wrote to us in December:
Pop culture helps to bridge divides of all kinds (regional, socio-economic, and political divides are just a few) by helping people from different backgrounds to understand viscerally the experiences of others. Pop culture, including documentary, has the potential to bridge divides deeply and quickly, through providing examples of real people living in ways that may be unfamiliar and based on mere caricatures and stereotypes.
-Sally Rubin, co-Director, hillbilly
Despite Hillbilly Elegy’s relative ubiquity in 2016 as the voice of “real” America, a plurality of voices, from academics and filmmakers to cultural critics, economists and historians, among many others, took issue with the way Vance’s book, in particular its emphasis on personal responsibility as the root cause of conditions that are the direct result of long-term, systemic impoverishment and economic neglect, and its implicitly conservative narrative of class mobility, which is almost by definition an experience of privilege. In fact, if there was one thing that mainstream media outlets frequently neglected to mention early on in Hillbilly Elegy’s life in public discourse and popular culture, in early election, pre-Charlottesville days, it was Vance’s whiteness, which is significant given whiteness’s centrality to the book’s media currency.
By the time of the film’s release in Fall of 2020, straightforward discussions about stereotypical, reductive representations of race, class, gender and sexuality had become far more mainstream following a summer of almost non-stop nationwide protests against structural racism and violent white supremacy in America, which coincided with increasingly obvious income inequality thrown into sharp relief by the pandemic. Though it’s production and initial release preceded this zeitgeist, Rubin and York’s hillbilly meets the moment, takes a deep dive into the history and functions of the hillbilly archetype in American media and political discourse, and is an excellent primer on the emergence of the hillbilly as an American icon with political valences that continue to impact those living in Appalachia, from the rural South to the Rust Belt. The film is also part of a growing, and increasingly visible, counter-narrative of Appalachia’s historic diversity, which has been so well whitewashed that the region’s denizens have become synonymous in pop culture with the specifically white, rural figure of the hillbilly.
To some extent, the documentary’s relevance and (hopefully) evolving critical attitudes towards stereotyping and the importance of unpacking problematic representation is evident in Variety’s decision to give hillbilly co-director Ashley York a guest column, “How ‘Hillbilly Elegy’ Proves the Need for More Diverse Stories About Appalachia” to respond to Hillbilly Elegy’s release. Rather than raking Howard’s adaptation over the coals, York takes the opportunity to reflect on her own work, and what she perceives as its shortcomings from her current perspective. She writes:
Our movie is far from perfect. It is a glimpse into a broad range of intersectional issues, ideas, coalitions, movements, and conversations, that are all equally deserving of attention in the media space. I will forever regret its inability to interrogate racism on a deeper level and to examine the consequences of capitalism on communities like the one where I grew up in eastern Kentucky. I recognize how whiteness informed our perspective and how we could have been more inclusive in our effort to involve Black and indigenous collaborators.
-Ashley York, hillbilly co-director, Variety*
While York expresses regrets about elements of the documentary that could have more deeply examined how race informed filmmaking and the cultural and political work done by the figure of the hillbilly, the film nonetheless spends a significant portion of its time showing people obscured by the whiteness and implicit heteronormativity of the hillbilly stereotype. Aside from being reductive, and frequently offensive, this figure also works to exclude black, brown and indigenous people from being represented at all, much less those who aren’t easily discerned visually like LGBTQIA+ folks or feminists. All are erased by a public and political discourse that not only prioritizes white voices, but is also so fixated on the “authenticity” of a stereotypical figuration of whiteness that it erases everyone else from public discourse at a pivotal time in regional and national history.
One of the ways hillbilly clearly interrupts the ubiquitous, homogenizing view of Appalachians is in its depiction of Appalachian Black folks, from intersectional feminist powerhouse and poet bel hooks to poet and spoken word artist Crystal Good, who has penned an excellent response to Hillbilly Elegy, “Behind the Scenes in Black Appalachia, to author Silas House and “the always brilliant” Frank X Walker, who coined the term “Affrilachia” to describe the pervasiveness and importance of Black people and culture in the region.
While York and Rubin depict a diverse, artistic version of Appalachia, the filmmakers do not present an overly florid picture of the region, nor do they shrink from representing the economic devastation the region has weathered. Instead, they prioritize explaining social and economic conditions, their history, and their relationship to representations of Appalachia in general, and of the hillbilly stereotype in particular. One of the more effective historical points recounted in hillbilly explains how the figure of the hillbilly proliferated during the Depression, becoming iconic in the photos of Dorothea Lange, which were then put to political use, creating public pathos for the New Deal. The film shows how iconography from that period has seen surprisingly little change over the years, remaining a constant in America’s cultural imaginary, from Deliverance to the 2016 conservative fantasy of an all-white, rural working class. Explains co-Director Rubin,
In the case of Appalachia, over a century of regional stereotypes (many of which are explored in our film, hillbilly) has worn deep grooves into the psyche of many Americans; the pre-formulated stereotypes are so ingrained they’re almost imperceptible. That’s where those stereotypes get so dangerous, when we don’t even know they’re there. Unraveling these stereotypes and rebuilding in their place more nuanced and multi-dimensional perceptions of the region takes time and conscious, pointed messaging. This is certainly what we aimed to do with hillbilly; to put a multi-faceted and diverse set of faces on a formerly homogeneous and simplified stereotype of the region, while simultaneously unraveling and teasing out how that stereotype had been so solidly constructed.
It’s not just that the mobilization of this imagery is exploitative. It is. But, the insistence on its authenticity is also a way of negating the experiences of Appalachian people who do not fit that mold exactly, most egregiously, the experiences and lives of Appalachian black folks.
This history of problematic and pervasive representation hillbilly tracks not only diminishes the region’s culture and history, and degrades its denizens in the national imaginary and in political discourse, it explores the how these stereotypes are reflected back at Appalachian communities and people in extremely damaging ways. York describes the shame she experienced while watching her home reflected back at her for the first time on television at 9 years old. This experience was the impetus for making hillbilly decades later. She recalls watching Dan Rather host a 1989 special edition of 48 Hours “Another America,” which was filmed one town over from where she lived:
Everything about that program — from the images of the broken-down cars to the condescending tone of the faceless narrator — made me feel shame. The program even added banjo to the “48 Hours” theme, a familiar cue for the viewer signaling they are entering a place that exists outside of place and time.
-Ashley York, hillbilly co-director, Variety*
York’s description of the imagery and the program’s presentation as a whole, including its terrifying timelessness, resonates with the ways in which the hillbilly stereotype she and Rubin excavate appears to have an almost mythological temporality, permanent and absolute. The sense of time York describes feels essential to the complicated way that a symbol intentionally fashioned to be derogatory and dismissive can be, and has been, positioned as America’s most authentic expression of citizenship. At the same time, this damaging stereotype has also worked to occlude difference and render vibrant, diverse communities in Appalachia invisible in popular culture and public and political discourse. The work of media excavation and analysis done in hillbilly is one way of restoring temporality to a stereotype that has been made to appear permanent, giving it a history and context that defy its apparent intransigence, and in doing so, begin to render it vulnerable to change.
Sebastopol Documentary Film Festival is moving to June. In light of ever changing COVID-19 conditions, and the impact on our industry, audience and bottom line we’re moving forward on the 2021 calendar.
We all miss the interaction of being together to make a memorable event … the energy of gathering for shared experience.
Already in the works are plans for our hybrid SDFF 2021 festival. If current regulations at that time permit, there will be live screenings. Some exciting opportunities for program partnership are being explored. Ticketed events are in development to fill the gap between now and the Festival. The website is evolving into a robust hub for our audience, fans, filmmakers and sponsors.
Sebastopol Documentary Film Festival #15 intends to resume its March dates in 2022.
Thank you for all your enthusiastic support during this chaotic time.
The team at Sebastopol Documentary Film Festival – SDFF 2021
The Wild Wins! Bristol Bay, Last Fully-Intact Salmon System
& Subject of SDFF 2020 Doc Preserved, as Proposed Mining Operation Denied
Tragically, Alaska’s Arctic National Wildlife Reserve Opened to Oil Drilling by Trump Administration at 11th Hour
The fight to halt a mining project in the Alaskan Tundra, which would destroy the largest existing natural sockeye salmon habitat, has likely come to an end. According to this Nov. 25 New York Times piece, the mining project, which sought to extract large copper and gold ore deposits, has been dealt a likely “death blow.” This issue came onto SDFF’s radar when The Wild (Mark Titus, 2019) became an official SDFF 2020 selection, which streamed as part of Docs Make House Calls. Read more on this ongoing issue on our News page or watch an SDFF exclusive interview with filmmaker Mark Titus.
Unfortunately, this same luck did not hold for the Arctic National Wildlife Refuge as plans to open this rare Alaskan habitat to oil development are proceeding on Weds. Jan. 6 when the Bureau of Land Management will be auctioning off drilling rights. The drilling will proceed as part of the BLM’s plans for the National Petroleum Reserve (NPR-A), a 23 million-acre tract of land, 80% of which will be open for oil development.
OUTwatch 2020 – Looking Back, Moving Forward
Features Four Docs on the History and Ongoing Struggle for LGBTQIA Civil Rights, Streaming Oct. 16-25
SDFF partner fest, OUTwatch calls attention to the history and future of civil rights with its 2020 fest theme “Looking Back, Moving Forward.” Held virtually this year due to COVID-19, OUTwatch will feature four outstanding docs that elucidate distinctive perspectives, ranges of experience and points in time. At a time when civil are embattled, festival organizers hope the films they’ve selected will honor LGBTQIA folks who have fought for civil rights, and shed light/inspire ongoing struggles to maintain and expand human rights to the entire community.
The festival will stream from Oct. 16-25, tickets are $12/household at www.OutWatchFilmFest.org. This year’s virtual festival showcases four enlightening, empowering and entertaining documentaries:
Tongues Untied (Marlon Riggs, 1989). Two top Black Gay artists, a filmmaker and a poet, created this film in the late 1980s. The film seeks, in its author’s words, to “…shatter the nation’s brutalizing silence on matters of sexual and racial difference.” Tongues Untied combines political statement, spoken word and dance. Unfortunately, this film is as relevant today as it was in the ’80s and ’90s. If you believe Black Gay Lives Matter, you need to see this film.
Transmilitary (Gabriel Silverman, Fiona Dawson, 2018). This 2018 documentary chronicles the lives of four individuals who put their careers and their families’ livelihoods on the line by coming out as transgender to top brass officials in the Pentagon in hopes of attaining the equal right to serve. The ban was lifted in 2016, but with President Trump now trying to reinstate it, their futures hang in the balance again.
Ahead of the Curve (Jen Rainin, Rivkah Beth Medow, 2020). In 1990, Franco created a safe place for lesbians in the form of Curve magazine. Her approach to threats and erasure in the ’90s was to lift all kinds of lesbians up and make them beautifully visible. The magazine helped build a foundation for many intersectional movements being led by today’s activists in the face of accelerating threats to the LGBTQ community.
Cured (Patrick Sammon and Bennett Singer, 2020). This powerful new documentary by Bennett Singer illuminates the campaign that led the American Psychiatric Association to remove homosexuality from its list of mental illnesses in 1973.
Bay Area Filmmaker Documents Local Hospital Closures, Speaks To Impacts on COVID Era
COVID-19 has laid bare the severity of a perpetually escalating health care crisis that had been quietly impacting daily life for millions of Americans for decades. Despite animating political discourse, the reality of this crisis was largely invisible for those unaffected by it, pre-Coronavirus. This was the context in which Bo Kovitz made her documentary The Desert, a film that addresses the fallout from an East Bay hospital closure that left almost 250,000 people, mostly low-income people, over 30 minutes away from a hospital. As COVID has torn through the country, it has refocused attention on long-standing issues in American healthcare that have put low-income folks and people of color at much greater risk of both contracting and dying of the disease. Kovitz film speaks to hospital closures that have left people in “health care deserts,” an issue that is both symptomatic and emblematic of the decisions in public health that have contributed to COVID 19’s spread, and the differential exposure to it based on class and race.
Because The Desert documents a local expression of a national issue, and approaches its subject in a smart, empathetic and compelling way, it has recently received increased attention as California hospitals have sought to deal with heightened rates of COVID infection and hospitalization, a problem exacerbated by hospital closures that have left already underserved areas at even greater risk. Kovitz and The Desert have recently been featured on thePBS’s California Report Magazine podcast, in The Mercury News, and on KQED’s Truly CA site.
Director of The Wild Responds to Bristol Bay Mining Threat
As we sat down for a Q&A with director Mark Titus in late July 2020 to discuss The Wild, the threats to Bristol Bay’s environment, bio-diversity and culture, which his film depicts as “a race against time,” appear to be accelerating under the current industry-friendly administration, as detailed in this recent NY Times piece. The film tracks efforts to block potentially catastrophic mining operations that have gained momentum under the Trump administration, which has dismantled EPA safeguards. Those safeguards have been protecting Bristol Bay, a “wild place that is the last of its kind on earth,” the keystone species of salmon that run in the area, and the people who have made their life in the area, including commercial, sustainable fishers and regional tribes. Unsurprisingly, the mining operation would counter a consortium of native tribe’s collective claim to the land and subsurface rights, and threatens both the survival of a keystone species of sockeye salmon and a “wild place that is the last of its kind on earth.” The threats detailed in the film have been ratcheted up and moved forward with the recent release of an Army Corps of Engineers Study that minimizes the potential damaging impacts of turning two of the Bay’s watersheds into open copper mines.
A follow-up to the 2014 film, The Breach, The Wild depicts the conflict over Bristol Bay as a battle for Alaska’s soul that mirrors the filmmaker’s own struggle to reclaim himself from addiction. In doing so, it raises a series of larger questions about human being’s relationships to the natural environment, our perception of ourselves as somehow separated from the natural world and the dire need to change course if we are going to avert the worst impacts of climate change. In our exclusive sit-down with Titus, he elaborates on these vitally important connections, which may help us find a path forward by understanding ourselves and our connection with the world.
For more on this complex and vitally important issue, look for SDFF co-Director Jean McGlothlin’s interview with Mark Titus, which will begin streaming for free on August 9, as an SDFF Exclusive. Before watching the film, we suggest watching Titus’s visually stunning and emotionally striking film The Wild, a part of the Docs Make House Calls Environmental Film Program, which also includes L’eau Est La Vie: From Standing Rock To The Swamp (Sam Vinal, 2019), and Eye of the Pangolin (Bruce Young, 2019), featuring another SDFF exclusive interview with filmmaker Bruce Young.
SUBJECT OF SDFF 2020 SELECTION—BELLINGCAT—MAKING HEADLINES FOR INVESTIGATIVE JOURNALISM
SDFF’s 2020 selection, Bellingcat: Truth In A Post-Truth World (Hans Pool, 2019) and some of the journalists affiliated with it have been making the news over the past month. Bellingcat the film is tells the story of the eponymous online investigative collective. Collective leader Eliot Higgins was interviewed on 60 Minutes on July 12 to talk about an investigation he had spearheaded into the downing of flight MH17. By using open-source methods and sources, Higgins instigated and broke the story of what happened to flight Malasia Airlines Flight 17. The flight’s demise was the deadliest shoot-down incident and took the lives of 283 passengers and 15 crew. Higgins investigations showed that the Airliner had been shot down by by Russian forces as it few over banned Ukranian air space. The interview and a follow-up article are available here.
On the heels of the story of this international breakthrough, Bellingcat contributing journalist Robert Evans, who was set to speak on an investigative journalism panel at SDFF 2020 has been interviewed by several national news outlets, like The New York Times for his extensive coverage of the Portland uprisings, which have been ongoing for over 50 days. Though they hadn’t stopped since George Floyd’s murder, the Portland protests had been more-or-less ignored by the mass media until tensions escalated after police responded violently to the crowd of protestors on July 4. Since then, the story has become huge, as President Donald Trump sent in Federal agents and law enforcement regimes to the city to quell protest, against the wishes of local and state officials. As of July 25, this situation remains tense, as federal agents have engaged with protestors (and fellow citizens) using military tactics usually reserved for engagement with foreign combatants. There have also been reports that federal agents have shown up in plain clothes and grabbed individual demonstrators off the street without identifying themselves, the agency they’re with, and/or why they are picking up and detaining protestors. Evans’ coverage of the situation for Bellingcat is available here.
Although we couldn’t get the Bellingcat movie to the big screen, we encourage our audience to go take a look at their amazing investigative work!