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In film, film grammar is defined as follows:

1. A frame is a single still image. It is analogous to a letter.
2. A shot is a single continuous recording made by a camera. It is analogous to a word.
3. A scene is a series of related shots. It is analogous to a sentence. The study of transitions between scenes is described in film punctuation.
4. A sequence is a series of scenes which together tell a major part of an entire story, such as that contained in a complete movie. It is analogous to a paragraph.

The term film grammar is best understood as a creative metaphor, since the elements of film grammar described above do not stand in any strict relation of analogy to the components of grammar as understood by philology or modern linguistics.

D. W. Griffith has been called the father of film grammar. Few scholars still hold that his "innovations" really began with him, but Griffith was a key figure in establishing the set of codes that have become the universal backbone of film language. He was particularly influential in popularizing "cross-cutting"—using film editing to alternate between different events occurring at the same time—in order to build suspense. He still used many elements from the "primitive" style of movie-making that predated classical Hollywood's continuity system, such as frontal staging, exaggerated gestures, minimal camera movement, and an absence of point of view shots. Some claim, too, that he "invented" the close-up shot.

Credit for Griffith's cinematic innovations must be shared with his cameraman of many years, Billy Bitzer. In addition, he himself credited the legendary silent star Lillian Gish, who appeared in several of his films, with creating a new style of acting for the cinema.

See also[link]

• Grammar
• The 'Grammar' of Television and Film http://www.aber.ac.uk/media/Documents/short/gramtv.html

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Paul Schrader
Schrader at the 44th Karlovy Vary International Film Festival, July 5, 2009
Born	Paul Joseph Schrader (1946-07-22) July 22, 1946 (age 65) Grand Rapids, Michigan, U.S.
Occupation	screenwriter and film director
Years active	1975–present

Paul Joseph Schrader (born July 22, 1946) is an American screenwriter, film director, and former film critic. Apart from his credentials as a director, Schrader is most known for his screenplays for Martin Scorsese’s Taxi Driver and Raging Bull.

Early life[link]

Schrader was born in Grand Rapids, Michigan, the son of Joan (née Fisher) and Charles A. Schrader, an executive.^[1] Schrader's family practiced in the Calvinist Christian Reformed Church,^[2][3] and his early life was based upon the religion's strict principles and parental education. He did not see a film until he was seventeen years old, and was able to sneak away from home. In an interview he stated that The Absent-Minded Professor was the first film he saw. In his own words, he was "very unimpressed" by it, while Wild in the Country, which he saw some time later, had quite some effect on him.^[4] Schrader refers his intellectual rather than emotional approach towards movies and movie making to his having no adolescent's movie memories.^[5]

Schrader received his BA from Calvin College, with a minor in Theology. He then earned an MA in Film Studies from the UCLA Film School graduate program upon the recommendation of Pauline Kael. With her as his mentor, he became a film critic, writing for the Los Angeles Free Press, and later for Cinema magazine. His book Transcendental Style in Film: Ozu, Bresson, Dreyer, which examines the cross-cultural similarities between Robert Bresson, Yasujirō Ozu and Carl Theodor Dreyer, was published in 1972. The endings of Schrader's films American Gigolo and Light Sleeper bear obvious resemblance to that of Bresson's 1959 film Pickpocket. His essay Notes on Film Noir from the same year has become a much cited source in literature on film.

Other filmmakers who made a lasting impression on Schrader were John Ford, Jean Renoir, Roberto Rossellini, Alfred Hitchcock and Sam Peckinpah. Renoir's The Rules of the Game he called the "quintessential movie" which represents "all of the cinema".^[5]

Career[link]

In 1974, Schrader co-wrote The Yakuza with his brother, Leonard, a film set in the Japanese crime world. Schrader became involved in a bidding war over the script and it sold for $325,000, which was more than any other screenplay up to that time.^[6] The film was directed by Sydney Pollack and featured Robert Mitchum, with screenplay rewritings by Robert Towne of Chinatown fame.

Although The Yakuza failed commercially, it brought him to the attention of the new generation of Hollywood directors. In 1975, he wrote the screenplay of Obsession for Brian De Palma. Schrader also participated in an early draft of Steven Spielberg's Close Encounters of the Third Kind (1977), but Spielberg disliked the screenplay, calling it "terribly guilt-ridden", and opted for a lighter script.^[7] His script for Rolling Thunder (1977) was reworked without his participation, and Schrader disapproved of the final film.^[5]

His script of Taxi Driver was turned into the Martin Scorsese film, which was nominated for a 1976 Best Picture Academy Award. Besides Taxi Driver (1976), Scorsese also drew on scripts by Schrader for Raging Bull (1980), co-written with Mardik Martin, The Last Temptation of Christ (1988), and Bringing Out the Dead (1999).

Taxi Driver provided the critical acclaim and consequently available funding that enabled Schrader to direct Blue Collar (1978), also co-written with his brother Leonard. Blue Collar features Richard Pryor, Harvey Keitel, and Yaphet Kotto as car factory workers attempting to escape their socio-economic rut through theft and blackmail. Schrader recalls that shooting the film was difficult, because of the artistic and personal tension among him and the actors; it was the only occasion he suffered an on-set mental collapse and made him seriously reconsider his career. John Milius acted as executive producer on the following year's Hardcore (again written by Schrader), which showed autobiographical parallels in the depicted Calvinist milieu of Grand Rapids, and the character of George C. Scott which was written after Schrader's father.^[5]

Among Paul Schrader's films in the 1980s were American Gigolo (1980), his 1982 remake of Cat People, Mishima: A Life in Four Chapters (1985, again co-written with Leonard Schrader, with Francis Ford Coppola and George Lucas serving as executive producers), for which he was nominated for the Palme d'Or prize at that year's Cannes Film Festival, and Patty Hearst (1988), about the kidnapping and transformation of the Hearst Corporation heiress. In 1987, he was a member of the jury at the 37th Berlin International Film Festival.^[8]

His work in the 1990s included The Comfort of Strangers (1990), adapted by Harold Pinter from the Ian McEwan novel, Light Sleeper (1992), a sympathetic study of a drug dealer vying for a normal life, which he called his "most personal" film,^[9] Touch (1997), from an Elmore Leonard novel, and the rural drama Affliction (1997), from the Russell Banks novel, which gained wide critical acclaim. In 1998, Schrader was the recipient of the Austin Film Festival's Distinguished Screenwriter Award.

In 2002 he directed the biopic Auto Focus, loosely based on the life and murder of Hogan's Heroes actor, Bob Crane.

In 2003, Schrader made entertainment headlines for being fired from Exorcist: Dominion, a prequel film to The Exorcist (1973). The production company, Morgan Creek Productions/Warner Bros. disliked the resulting film and had large segments re-shot under director Renny Harlin; it was released as Exorcist: The Beginning in 2004. Schrader's version eventually had its premiere at the Brussels International Festival of Fantastic Film on March 18, 2005 as Exorcist: The Original Prequel. It received limited cinema release under the title Dominion: Prequel to the Exorcist in mid-2005.

After that, he filmed The Walker (2007) and Adam Resurrected (2008).

The September-October 2006 issue of Film Comment magazine published his essay Canon Fodder which attempted to establish criteria for judging film masterworks. Schrader headed the International Jury of the 2007 Berlin International Film Festival. Currently, he is a Jury Member of the continuing Filmaka short film contest.^[10]

On July 2, 2009, Schrader was awarded the inaugural Lifetime Achievement in Screenwriting award at the ScreenLit Festival in Nottingham, England. Several of his films were shown at the festival, including Mishima: A Life in Four Chapters, which followed the presentation of the award by director Shane Meadows.

Schrader also wrote two stage plays, Berlinale and Cleopatra Club. The latter saw its premiere at the Powerhouse Theater in Poughkeepsie, New York, in 1995 and its foreign language debut in Vienna in 2011.^[5][11][12]

Schrader is married in second marriage to actress Mary Beth Hurt, who appeared in smaller roles in various of his films.

Themes[link]

A recurring theme in Schrader's films is the portrayal of a protagonist who is on a self-destructive path or who undertakes actions which work against himself, deliberately or subconsciously. The finale often bears an element of redemption, preceded by a painful sacrifice or a cathartic act of violence.

Schrader repeatedly referred to Taxi Driver, American Gigolo, Light Sleeper and The Walker as "a man in a room"-films, which form a tetralogy closing with The Walker. The protagonist changes from an angry, then narcissistic, later anxious character to a person who hides behind a mask of superficiality.^[5][13][14]

Although many of his films or scripts are based on real-life biographies (Raging Bull, Mishima, Patty Hearst, Auto Focus), Schrader confessed having problems with biographical films due to their altering of actual events, which he tried to prevent by imposing structures and stylization instead.^[5]

Works[link]

As director[link]

• Blue Collar (1978) (also co-writer with Leonard Schrader)
• Hardcore (1979) (also writer)
• American Gigolo (1980) (also writer)
• Cat People (1982)
• Mishima: A Life in Four Chapters (1985) (also co-writer with Leonard Schrader and Chieko Schrader)
• Light of Day (1987) (also writer)
• Patty Hearst (1988)
• The Comfort of Strangers (1990)
• Light Sleeper (1992) (also writer)
• Witch Hunt (1994) (TV)
• Touch (1997) (also writer)
• Affliction (1997) (also writer)
• Forever Mine (1999) (also writer)
• Auto Focus (2002)
• Dominion: Prequel to the Exorcist (2005)
• The Walker (2007) (also writer)
• Adam Resurrected (2008)

As writer only[link]

• The Yakuza (1975) (with Leonard Schrader and Robert Towne) dir. Sydney Pollack
• Taxi Driver (1976) dir. Martin Scorsese
• Obsession (1976) dir. Brian De Palma
• Rolling Thunder (1977) (with Heywood Gould) dir. John Flynn
• Old Boyfriends (1979) (with Leonard Schrader) dir. Joan Tewkesbury
• Raging Bull (1980) (with Mardik Martin) dir. Martin Scorsese
• The Mosquito Coast (1986) dir. Peter Weir
• The Last Temptation of Christ (1988) dir. Martin Scorsese
• City Hall (1996) (with Bo Goldman, Nicholas Pileggi, and Ken Lipper) dir. Harold Becker
• Bringing Out the Dead (1999) dir. Martin Scorsese

Unproduced scripts (partial)[link]

• Pipeliner
• Covert People
• Quebecois
• Eight Scenes From the Life of Hank Williams [1]
• Investigation [2]
• The John Gotti Story

Short films[link]

• For Us, Cinema is the Most Important of Arts (1970)
• Tight Connection (1985, music video)
• New Blue (1995)

Stage plays[link]

• Berlinale
• The Cleopatra Club

References[link]

Further reading[link]

• Transcendental Style in Film: Ozu, Bresson, Dreyer, Da Capo Press, 1988 (ISBN 0-306-80335-6).
• Notes on Film Noir, Film Comment, Vol. 8, No. 1, Spring 1972.

External links[link]

• Paul Schrader at the Internet Movie Database
• Interview with Schrader from 1998 on 'Bringing Out the Dead' and his writing techniques by Mikael Colville-Andersen.
• Video of interview with Paul Schrader about Robert Bresson
• A collection of his film criticism
• Eight Scenes From the Life of Hank Williams (Unproduced Script)

This article may contain academic boosterism which primarily serves to praise or promote the subject and may be a sign of a conflict of interest. Please improve this article by removing peacock terms, weasel words, and other promotional material. (February 2012)

The Portsmouth Grammar School

147px
Motto	Praemia Virtutis Honores
Established	1732
Type	Independent school
Religion	Church of England
Head Master	Mr James Priory
Chairman of the Governors	Brian Larkman
Founder	Dr. William Smith (MA)
Location	High Street Portsmouth Hampshire PO1 2JN England
Staff	~172
Gender	Mixed
Ages	2–18
Houses	4
Colours	Red      Gold      Black
Publication	The Portmuthian
Former pupils	Old Portmuthians
Website	www.pgs.org.uk

Coordinates: 50°47′30″N 1°05′59″W / 50.791784°N 1.0998°W / 50.791784; -1.0998

Frontispiece, The Portsmouth Grammar School

The Portsmouth Grammar School is a co-educational public school in Portsmouth and is located in the historic part of the city. Founded in 1732 as a boys' school, it has become one of the top public schools in the UK^[1] consistently ranking highly in national reviews of teaching quality and examination results.^[2][3]

History[link]

In 1732, William Smith, a former Mayor of Portsmouth and previously the garrison physician, died and left his estate to Christ Church, Oxford. His will contained instructions to build a new school in Portsmouth and thus, The Portsmouth Grammar School (PGS) was founded. The will of the founder is reflected to this day in that two Governors continue to be nominated by Christ Church. The school also retains its naval links, with The Second Sea Lord and Commander-in-Chief Naval Home Command nominating one further Governor.

Since then it has undergone a series of changes - including slight alterations to its location, some of which were due to bombing in World War II, its conversion to co-education, and the abolition of boarding.

As of 2010 the Upper Junior School (Years 5-6) is situated in a Victorian building (which once contained the whole Grammar School) close to part of the University of Portsmouth. The Nursery, Lower Junior School (Reception to Year 4), Middle School and Upper School are located across the road on the High Street. The majority of that area used to be the Cambridge Barracks: a building used by the army which was ravaged by fire after bombing by the Luftwaffe.

The school colours are red, black and gold, and the school motto is Praemia Virtutis Honores (English: Honours are the rewards of virtue). The current Headmaster is Mr J Priory. The school recently spent £6 million ^[4] on a new Science building.

Academic performance[link]

The school is academically strong,^[5] with an average AS/A level point score of 939.1 in 2009, which is almost 50% over the national average.^[6]

Over 90% of pupils achieve a place at their first choice university and most go on to study at Russell Group universities; up to 20% go on to Oxbridge.^[7]

Internal Structure[link]

Portsmouth Grammar School consists of three sections: Nursery (ages 2-4), Junior School (Reception to Year 6) and Senior School (Year 7 to Sixth Form).

Houses[link]

The Main Arch, The Portsmouth Grammar School

In each section of PGS there are four houses, each represented by a colour and named after a former schoolmaster. Although these colours remain the same, the names change in each section of the School:

Houses form the basis of the school pastoral system and provide a continued 'home' throughout a pupil's time at the school. In the Upper School, each house has its own common room. Sixth Formers have their own common area and cafe, known as the Sixth Form Centre. Sixth Formers also have their own library.

Discipline[link]

The ISI inspection report of 2004 commented that "discipline is maintained with a soft touch due to the good relations between pupils and teachers."

It is PGS's policy to deal with serious breaches of its code of conduct and school rules severely:

• On the lowest end of the scale, lunchtime and breaktime detentions can be administered,
• For more serious breaches, after school detentions on Thursdays can be administered,
• Above that Headmaster's detentions are carried out on Saturday mornings.
• For the most serious of breaches of conduct (for example theft) the Headmaster has the power to suspend and expel students. Traditionally, however, pupils are not 'expelled', but in a meeting convened between the Headmaster and the pupil's parents, it is made clear to the parents that it would be for the best if they were to withdraw their child from the school. Expulsion is thus known at PGS as 'being asked to leave'.

Prefects[link]

Prefects also perform a minor role in school discipline, performing duties such as monitoring classroom and the tuck shop during breaks and ushering pupils at large school events. They are expected to set an example to younger pupils and are given the authority to issue lunchtime detentions. Chosen in Year 12 by a combination of discussions between teachers and the Headmaster and a student vote, around forty-five pupils are awarded with diagonally-striped red and gold ties. A few pupils have golden buttons; these are the Deputy Senior Prefects. One select Senior Prefect is also chosen to preside over shared responsibilities.

Co-Curricular activities[link]

Pupils take part in trips each term to visit various countries. Pupils have visited France, Germany, Spain, Ireland, The United States, Russia, Norway and a number of other countries. Exchanges take place as a part of the Modern Languages programme each year, with pupils spending time in France, Germany and Spain and receiving a visit from their counterpart. Additionally, sports teams travel each year to various locations, which have included South Africa and Australia.

Aside from trips abroad, extracurricular activities include the CCF (see below), a Debating Club, Wildlife Club, "Miniatures and Modelling Club", "Astronomy society", and "Middle School Textiles Club".

Drama[link]

GCSE and AS/A-level assessment performances take place on weekday evenings to an audience of parents and friends of the pupils involved. In terms of extracurricular drama, the scene is varied; a great deal of change has occurred within the Drama Department recently, with the building of a new theatre and several new ventures being undertaken. A selection of regular drama activities is listed below.

• Sixth Form Shakespeare - pupil-organised production of one of the bard's comedies, performed outdoors at the school's playing fields at Hilsea during the Summer Term.

• Musical - a classic west end musical, organised with the help of a director-in-residence, performed at the King's Theatre, Southsea, in early December. The 2011 performance was The Wizard of Oz

• House Drama Competition - an inter-house contest in which small groups perform an extract from a play or musical for judgement and ranking.

• The Middle School Play - with younger members of the upper school (years 7 and 8); plays have varied from Shakespeare to Kes, Performed in the Summer Term. Recent plays include The Government Inspector, Grease & Bugsy Malone

• The Year Six Play - undertaken by Junior School members in year six. In 2010 the play was treasure island performed at The New Theatre Royal, and in 2011 was a musical version of Shakespeare's The Tempest.

Sport[link]

Within the school grounds are a sports centre containing a multi-purpose hall, gymnasium, squash courts, weight lifting room and dance rooms.

The school also has extensive sports grounds at Hilsea, which include tennis courts, cricket and rugby pitches, as well as a pavilion. The school sometimes uses the HMS Temeraire grounds, and Governors Green in Portsmouth.

Sports offered include rugby, cricket, hockey, tennis, netball, squash, shooting, fencing, rowing and croquet.

CCF[link]

The School has a Combined Cadet Force open to pupils in Year 9 and above. This comprises the Army, Royal Air Force and Royal Navy sections. Cadets learn skills of navigation, leadership, drill, outdoor survival, adventure training, flying, sailing and shooting as part of the CCF. Each section has its own residential camps based around the country throughout the year, with opportunities to shoot on ranges, sail, fly in planes and adventure training.

Music[link]

In an article in the September 2006 BBC Music Magazine, the following was written about the music at PGS:

There are several ensembles that perform regularly, many conducted by the school's associate conductor, Nicolae Moldoveanu. The PGS Chamber Choir sang at the Festival of Remembrance at the Royal Albert Hall in 2005 and went on tour to Salzburg at Christmas 2006. The Choir also sings regularly with the London Mozart Players and upholds an annual tradition of singing Evensong at Christ Church, Oxford.

Weekly lunchtime recitals are held in the Music Department for soloists.

Politics[link]

PGS runs its own Model United Nations which meets weekly. The school also hosts an MUN Conference annually and are joined by local school delegation teams.^[8] The school has run mock elections for notable elections that have occurred at the time. In recent years, the History & Politics Department have organised school elections for the 2008 US election in which the school voted in favour of Barack Obama; and the 2010 UK election, where the school elected the Conservative Party.^[9]

Old Portmuthians[link]

Alumni are known as Old Portmuthians and may join The Old Portmuthian Club, founded in 1885. Notable OPs include

• Cyril Garbett (1875–1955), Archbishop of York (1942–1955),
• James Clavell (1924–1994), novelist, screenwriter and director,
• Sir Peter Viggers (1938-), Conservative MP for Gosport (1974–2010) who was made famous for his expenses claim for a duck house,
• Fred Dinenage (1942-), presenter of ITV's local news programme, Meridian Tonight
• Paul Jones (1942-), singer, actor, harmonica player, radio and television presenter,
• Ian Osterloh (1960-), Clinical researcher attributed with the creation of 'Viagra' as well as numerous cardiovascular drugs,
• Mel Stride (1961-), Conservative MP for Central Devon (2010–present),
• Mike Wedderburn (1964-), TV sports presenter for Sky and Sky Sports,
• Ed Richards (1965-), Chief Executive of Ofcom,
• Roger Black (1966-), Olympic athlete (silver medalist),
• Murray Gold (1969-), TV, film and stage composer,
• James Bobin (1972-), film director, writer and producer; directed the high-grossing 2011 film, The Muppets

References[link]

External links[link]

• The Portsmouth Grammar School website
• Guide to Independent Schools entry
• The Old Portmuthian Club website
• Works by or about Portsmouth Grammar School in libraries (WorldCat catalog)

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Julie Dash (born October 22, 1952 in Long Island City, Queens, New York) is a United States filmmaker. She directed Daughters of the Dust, which in 1991 became the first full-length film with general theatrical release in the United States by an African American woman. In 2004, Daughters of the Dust was included in the National Film Registry.

Biography[link]

Julie Dash initially was rejected by Hollywood executives when she pitched her first full-length film, Daughters of the Dust. Dash stated in an interview with the Boston Globe that she was turned down in a very similar systematic fashion of excluding black women from Hollywood. She was told that her film was "too different."^[1] However, remaining confident in an interview with the Detroit Free Press, Dash states "I'm a very hopeful person and I think we can accomplish a lot through film in the '90s. We're going to see a lot of film work done by black women who have different concerns than our brothers who make films [...] We have strong statements to make because we've been silenced for so long."

"Daughters of the Dust" opened to critical acclaim. The Boston Globe called it "mesmerizing"; the Atlanta Constitution described it as "poetry in motion"; and the Village Voice said that it was "an unprecedented achievement." One woman who just finished watching a sold-out New York City premiere told New York Magazine, "It's hard to explain. It makes you feel connected to all those before you that you never knew, to parents and grandparents and great-grandparents. I'm a different person now from seeing this movie. It's a rejuvenation, a catharsis. Whatever color you are, people want to feel that sense of belonging."

The plot of "Daughters of the Dust" is centered around a family of Gullahs—blacks living on islands off the southeastern coast of the United States. "Daughters of the Dust" is also the first nationally distributed feature-length film directed by an African American woman.

In an interview with the Los Angeles Times, Dash said that she knew very little about her South Sea Island heritage until she noticed her father's "funny accent." She soon recognized it to be Gullah, a West African-influenced English dialect preserved off the coast of Georgia, South Carolina, and northeastern Florida. As a child she was exposed to certain rituals practiced by her caretaker who would burn loose strands of Dash's hair after she combed it. She told the Village Voice that the reason for this was "so no one could get a hold of it." She also said how her caretaker would talk about "hiding [her] pictures so no one could put gopher dust on them and drive you crazy."

In 1974, Dash pursued to study film at the Leonard Davis Center for the Arts in the David Picker Film Institute and earned her Bachelor of Arts degree. While attending, Dash wrote a promotional documentary for the New York Urban Coalition called "Working Models of Success".

Dash moved to Los Angeles to attend the Center for Advanced Film Studies at the American Film Institute where she studied under filmmakers such as Jan Kadar, William Friedkin, and Slavko Vorkapich. She produced "Four Women", which was a dance film based on the Nina Simone song that won a Gold Medal for Women in Film in the 1978 Miami International Film Festival. This central theme for this film because the main focus of "Daughters of the Dust".

She stated in an interview with the Village Voice, "I stopped making documentaries after discovering Toni Morrison, Toni Cade Bambara, and Alice Walker. I wondered, why can't we see movies like this? I realized I needed to learn how to make narrative movies." Black women authors played a huge role in her decision to pursue creative film. In 1977 she directed Diary of an African Nun, which was an adaptation of a short story by Alice Walker at the University of California, Los Angeles.

Dash worked as member of the Classifications and Ratings Administrations for the Motion Picture Association of America between 1978 and 1980. Dash was assigned to a special assignment screening at the Cannes International Film Festival where co-sponsored a screening of short films in the Marche du Cinema.

In 1983, Dash directed a short called "Illusions", which was part of an ongoing series. This short explored themes such as racial and sexual discrimination. "Illusions" was critically acclaimed, receiving the Black American Cinema Society Award in 1985, and was a recipient for the Black Filmmaker Foundation's Jury Prize.^[2][3]

Julie Dash was named a 2007 USA Rockefeller Foundation Fellow and awarded a $50,000 grant by United States Artists, a public charity that supports and promotes the work of American artists.

A Detroit Free Press contributor stated, "In all of Dash's films, black women belie the Hollywood stereotypes. Dash's black woman is a complex bundle of hope and regret, joy and pain, tenderness and fury, vulnerability and strength." Dash's films became something worth watching to critics especially when it explored the depths of African American women depictions. Dash believes that Hollywood spits the same film images back at us over and over, and she wants to do something new. She proclaims in the Free Press, "We're bombarded with the same film images over and over."

She is an honorary member of Alpha Kappa Alpha sorority.

Filmography[link]

Director

• Making Angels (2013)^[4][5][6]
• Tupelo 77 (2012)
• Brothers of the Borderland (2004)
• The Rosa Parks Story (2002) (TV)
• Love Song (2000) (TV)
• Incognito (1999) (TV)
• Funny Valentines (1999) (TV)
• SUBWAYStories: Tales from the Underground (1997) (TV) (segment "Sax Cantor Riff")

... aka Subway (UK: DVD box title)

• "Women: Stories of Passion" (1 episode, 1997); Grip Till It Hurts (1997) TV Episode
• Tony! Toni! Tone! - "Thinking Of You" (1997) (music video)
• Adriana Evans - "Love Is All Around" (1997) (music video)
• Praise House (1991)
• Daughters of the Dust (1991)
• Illusions (1982)
• Diary of an African Nun (1977)
• Four Women (1975)
• Working Models of Success (1973)

Writer

• SUBWAYStories: Tales from the Underground (1997) (TV) (segment "Sax Cantor Riff")

... aka Subway (UK: DVD box title)

• "Women: Stories of Passion" (1 episode, 1997); Grip Till It Hurts (1997) TV Episode (teleplay)
• Daughters of the Dust (1991)
• Illusions (1982)

Literature[link]

Julie Dash, bell hooks, Toni Cade Bambara, Daughters of the Dust: The Making of an African American Woman's Film, New Press 1992

References[link]

See also[link]

• L.A. Rebellion
• Women's Cinema

External links[link]

• Bibliography of books and articles about Julie Dash via UC Berkeley Media Resources Center
• Sisters in Cinema
• Rockefeller Foundation Fellows 2007
• United States Artists arts advocacy organization.