Zana briski biography of martin luther king
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Oscars flashback: Documentaries about family tree prevailed 20 years ago
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Passages from India
Filmmakers Ross Kauffman and Zana Brinski impoverished through allencompassing with their winning physician feature "Born into Brothels: Calcutta's Untiring Light Kids," about say publicly children emulate sex workers in interpretation red-light partition of description Indian knowhow. They continuing the traditi
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2004 IDA Distinguished Documentary Achievement Awards: Winners
FEATURE DOCUMENTARIES
Born into Brothels
Directors/Producers/Cinematographers: Zana Briski, Ross Kauffman
Editors: NancyBaker, Ross Kauffman
Composer: John McDowell
Executive Producer: Geralyn White Dreyfous
Co-Executive Producer: Pamela Boll
THINKFilm, HBO Cinemax Documentary Films
The most stigmatized people in Calcutta's red light district are not the prostitutes, but their children. In the face of abject poverty, abuse and despair, these kids have little possibility of escaping their mother's fate or for creating another type of life. In Born into Brothels, directors Zana Briski and Ross Kauffman chronicle the amazing transformation of the children they come to know in the red light district. Briski, a professional photographer, gives them lessons and cameras, igniting latent sparks of artistic genius that reside in these children. Their photographs are not merely examples of remarkable observation and talent; they reflect something much larger, morally encouraging and even politically volatile: art as an immensely liberating and empowering force.
ZANA BRISKI was born in London, England. After earning a master's degree in theology and religious studies at University of Cambridge, she studied docu
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The Envelope: ‘Selma’s’ depiction of civil rights years: Less saintly, more swagger
There’s a short scene in the upcoming film “Selma” about the events leading up to, and surrounding, the Selma to Montgomery civil rights marches of 1965 in which Coretta Scott King confronts her husband, Martin, about his suspected infidelities. “Do you love me?” she asks, and he responds in the affirmative. “Do you love any of the others?” she then asks, and after a pause he acknowledges that there are indeed others by answering, “No.”
It’s not a major moment in director Ava DuVernay’s movie, but it is in a sense an astonishing one. That’s because films about the civil rights movement have barely acknowledged Martin Luther King Jr.’s adulterous ways and have for the most part portrayed activists of the era as sexless and saintly.
Films about the movement “have made the representative black characters just such good, noble people,” says Allison Graham, author of “Framing the South: Hollywood, Television and Race During the Civil Rights Struggle.” “The movies don’t risk having a complicated, flawed black hero or heroine.”
Or, as DuVernay told an audience at New York’s Urbanworld Film Festival, King “has been really homogenized, like a preaching statue, but he was a really radical thinke