Madeline Anderson

rdf:langString Madeline Anderson

rdf:langString Madeline Anderson

rdf:langString Madeline Anderson

rdf:langString Reel Black Talk : A Sourcebook of 50 American Filmmakers

rdf:langString Madeline Anderson in Conversation: Pioneering an African American Documentary Tradition

rdf:langString Reel Black Talk: A Sourcebook of 50 American Filmmakers

rdf:langString I think it’s viable artistically. In terms of business, I don’t think it’s moved as well as it should have. I think people shy away from the kinds of films we make outside the Hollywood system. There is a real change in the filmmaking world now. People tend to devalue films made outside Hollywood−more so in our community than others. We don’t seem to have a real art community yet, but it’s growing.

rdf:langString The way I feel about the film now is that I think it was an honest film. It wasn't a romantic idea of who the young people were in the film. That’s how they were. Some of the young actors in the film were from gangs or were friends of gang members. I think Shirley tried to do a good job of telling the truth about what was going on at the time. I think it was one of the best films at that time of the genre.

rdf:langString Madeline Anderson (born ca. 1923) is an American filmmaker, television and documentary producer, film director, editor and screenwriter. She is best known for her films Integration Report One (1960) and I Am Somebody (1970), the latter of which garnered national and international acclaim. In 2015, the National Museum of African American History and Culture officially recognized Integration Report One as the first documentary film to be directed by an African American woman. Anderson also became the first African American woman to executive produce a nationally aired television series, a 1977 PBS educational series titled Infinity Factory. She was inducted into the Black Filmmakers Hall of Fame in 1993 alongside actress Rosalind Cash.