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Los Angeles Documentary and the Production of Public History, 1958-1977$
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Joshua Glick

Print publication date: 2018

Print ISBN-13: 9780520293700

Published to California Scholarship Online: September 2018

DOI: 10.1525/california/9780520293700.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 05 December 2021

The Rise of Minority Storytelling

The Rise of Minority Storytelling

Network News, Public Television, and Independent Collectives

Chapter:
(p.69) 3 The Rise of Minority Storytelling
Source:
Los Angeles Documentary and the Production of Public History, 1958-1977
Author(s):

Joshua Glick

Publisher:
University of California Press
DOI:10.1525/california/9780520293700.003.0004

This chapter explores filmmaking in Watts, East Los Angeles, and Little Tokyo in the aftermath of the Watts Uprising. These areas appeared on screen as complex communities, not simply as “slums” or sites of loss. Prominent filmmakers included Joe Saltzman (Black on Black [1968]), Lynne Littman (Womanhouse Is Not a Home [1972]), Robert Nakamura (Manzanar [1970–1971]), Sue Booker (Doin’ It at the Storefront [1972–1973]), and Jesús Salvador Treviño (América Tropical [1971]). The combination of grassroots activism and government legislation inflected the training and production practices of these documentarians during their time at commercial broadcasting stations, UCLA, and the public television outlet KCET.

Keywords:   Watts Uprising, Joe Saltzman, Sue Booker, KCET, Robert Nakamura, UCLA

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