Final Pitch
In November 1898, the first and only successful Coup D’etat to occur on US soil took place in Wilmington, North Carolina. The local, conservative Democratic Party forcibly toppled the city’s duly elected government, including two African American Aldermen. How is it possible that 109 years later almost no one in the town of Wilmington knows about this significant piece of history? That is the same question our group has asked. When we first began this project we had a wide variety of aspects we wanted to include in our documentary. We soon realized that there was no way that we could fit everything we wanted into 5-7 minutes, so we had to narrow our topic. So we decided the major focus of our project would be, Why is this significant piece of history not being taught in schools? At this point, we have some great B-roll footage, still photographs, and hours of interesting vox pop interviews. Even with all that we still need to shoot a bunch of other things to make our film even better. The things that we still need to shoot are: MLK street signs, Fire stations, Fire Hydrants, The Beach, Bonfires or fire burning, Burning newspapers, Archive photos, History book cover and pages, Vox pop from the black community, and an Expert Interview. With all these different mediums to work with our documentary should turn out very nice and end up being 5-7 minutes.
Why was my film rejected
I think that the information is very helpful and important to student filmmakers. For me I typically would have thought that longer shorts would have better chance than shorter. It is very helpful to me to know that is not the case. This is helpful to me because I now know to focus on condescending and focusing. I am starting to equate film with writing- shorter is better. To go straight to the point and efficiently utilize every frame and sound bite. This is in many ways easier and cheaper. It is also harder because it forces one to be more creative and concise. I feel happy to know that short shorts have an equal and better chance than longer shorts. This gives me more opportunities than I thought I had.
Amir
Amir
Why Was My Film Rejected? - Response
The guidance offered to film festival applicants on the DC Shorts website was biting, entertaining, and solid advice. However, none of it was shocking or discouraging. It was a practical reiteration of the repeated lessons heard in production classes at UNCW - sound, editing, lighting, and story. It was a poignant reminder, especially to those of us pursuing careers in independent film, that success in filmmaking is enormously demanding. There were certain specific hints offered that were particularly useful. The warning against editing one's own project was a little rattling - so many of us aspire to have a hand in multiple aspects of the collaborative art form. The appeal of a good comedy is obviously rare, but I was a little surprised that the genre was set apart as having a particular pull in festivals. The one really striking piece of advice to me was - Work within the means of your crew, and think simple. Ego is not always a good thing to feed. This does not mean to limit oneself creatively, but merely to think within realistic limits of production. There is definately a level of perfectionism innate in quality filmmaking, and the advice supports that the same is expected by festivals. I look forward to the process - the lost money, repeated rejection, and thrill of filmmaking.
-tod
-tod
Why was my Film Rejected?
I thought that this article had a lot of useful information for anyone planning on submitting a film to a festival. Some of the things that it talked about were more common sense like, use a proper storytelling arc and use a independent professional editor. On the other hand, there were a lot of things it talked about that I had no idea were so important. One thing that is very important to the judges is the use of good camera shots. Making sure actors are properly in frame and keeping the handheld shots steady are major. Judges also keep a close eye on acting and lighting, so filmmakers should use proper actors for the role and have an experienced DP and Grip to help with lighting. One thing that the article mentioned that I found to be very true is keep your movie simple and do what can be successfully attained by the number and experience of the crew you have. Many films are lost because they are overly ambitious. The article also gives a bunch of small tips to remember when submitting a film. One tip that I thought was very simple but very important was to submit your movie in a nice DVD clamshell case in a bubble wrap envelope with some sort of promo item (film review, production still, etc.). After reading this article I now have a better idea of what kind of things to look out for when submitting a movie to a festival.
-Brad
-Brad
Story board
1. Newspaper burning
2. Statue honoring Confederate Officer
3. Confederate flag
4. Highway/"Welcome to Wilmington" sign
5. Upscale home
6. Impoverished neighborhood
7. Hugh MacCrae Park
8. Basketball court on corner of 10th and Castle Street
9. Swamp lands where African Americans fled during 1898 Riots
10. Tranquil sunset on beach
Ideal and Reasoning of Poetic Project
The Poetic Form may contribute to a great deal of our film. If it were not for historical and educational considerations, we, as filmmakers, would prefer to make the entire project a poetic piece. However, our desire for open communication and education on the Wilmington Riots of 1898 drives us to incorporate multiple approaches. Utilizing the poetic form, we will juxtapose the socio-economic conditions of African American neighborhoods with majority white neighborhoods in Wilmington, NC. The poetic portion of the film may establish the theme and set the structure and rythym of the entire project. We hope to stumble upon honesty as we roam the downtown streets and out-stretches of Wilmington.
Shooting Schedule - Poetic Form
- Thursday, April 5: 2 pm - 7pm
Set Shots: newspaper on fire, confederate statue, Wilmington from the 74/76 bridge, ABC Store (17th St), Oleander stores,
fire stations, signs (Welcome to Wilmington), north downtown homes, south downtown homes (restored),
Star News, Wilmington Journal.
- Friday, April 6: 4 pm - 8 pm
History and Atmosphere Shots: Walk through north side of downtown Wilmington, from N.4th to N.11th. We will follow the
path of the riots and note historic marks according to archival maps.
- Saturday, April 7: 10 am - 3 pm
Spontaneous Shots: downtown Wilmington, Hugh MacCrae Park, Urban Park.
Set Shots: newspaper on fire, confederate statue, Wilmington from the 74/76 bridge, ABC Store (17th St), Oleander stores,
fire stations, signs (Welcome to Wilmington), north downtown homes, south downtown homes (restored),
Star News, Wilmington Journal.
- Friday, April 6: 4 pm - 8 pm
History and Atmosphere Shots: Walk through north side of downtown Wilmington, from N.4th to N.11th. We will follow the
path of the riots and note historic marks according to archival maps.
- Saturday, April 7: 10 am - 3 pm
Spontaneous Shots: downtown Wilmington, Hugh MacCrae Park, Urban Park.
B Roll
B roll, crucial footage often forgotten by director and crew, has been barely addressed by our group. B roll footage is everything not in the script. We plan to have many random shots reinforcing the theme, however, this is different than B roll. B roll is extra fill footage during narration, interviewing, or cuts. Good B roll footage could be footage responding to comments made by our interviewees - revealing places, individuals or ideas. Also, we could capture footage of the interviewees in their normal day to day capacities - giving lectures at school, interacting in the community.
B-roll footage
Larry Thomas playing and listening to Jazz music.
Larry Thomas's Published books
Larry Thomas community activities
Tim Tyson lecturing
Tim Tyson's published book
Sue Cody at UNCW Library working with students and staff
Lola James working in community
Lola James shopping and interacting communities
B-roll footage
Larry Thomas playing and listening to Jazz music.
Larry Thomas's Published books
Larry Thomas community activities
Tim Tyson lecturing
Tim Tyson's published book
Sue Cody at UNCW Library working with students and staff
Lola James working in community
Lola James shopping and interacting communities
New Resource
I recieved a comment the other day from Larry Reni Thomas, a native black from Wilmington who has written two books related to the coup/massacre. He is also the founder of ICROW1898, Inc.--The International Organization for the Compensation and Reparation for the Wilmington Victims of 1898. He lives in Chapel Hill and would like to help us out by giving his own perspective of the Riots. Im not sure how but it seems that Larry knows our other interveiwees Sue Cody and Tim Tyson and does not support their position on the issue. He even said that Sue Cody and Tim Tyson are clearly not interested in reparations or compensation for the victims of the riot.
New Resource
On Friday I meet Lola Linda Sampson Franks James. Her family is one of the oldest black families living in Wilmington. Her family Has lived here since the 1700s. Her family was involved in the 1898 race riots. And she knows stories passes down orally from her family. She also knows places and other families that have information. As she has lived here she has observed the racism, progression and decline of communities in the area. She is very excited about sharing and documenting her information with us
Wilmington Race Riot - 1898/ Power Point
The following entry, titled the same, is a power point presentation by Le Rae S. Umfleet courtesy of the N.C. Office of Archives and History(link available). It offers an insightful overview of the historical and social conditions surrounding the 1898 "massacre." The prominent local and state figures, politically and otherwise, from both racial communities are highlighted. For those individuals acquainted with downtown Wilmington, certain names, locations, and images will strike an eerily familiar note. The presentation is straightforward but informative, and it will serve as a good place to begin for those less aware of the incident and the surrounding circumstances.
Interviews and Shooting Schedule
Tim Tyson - History professor - University of North Carolina Chapel Hill
Sue Cody - Head-librarian at UNCW - Thesis written on the Wilmington Riots
Interview several people in the surrounding community
Friday - Sue Cody - 11am
Friday - afternoon - local interviews downtown
Shooting in Chapel Hill TBA and scheduled with Tim Tyson
http://www.ah.dcr.state.nc.us/1898-wrrc/
http://statelibrary.dcr.state.nc.us/nc/bio/afro/riot.htm
http://www.baystatebanner.com/archives/stories/2006/02/020906-03.htm
UNCW newspaper archives
Sue Cody - Head-librarian at UNCW - Thesis written on the Wilmington Riots
Interview several people in the surrounding community
Friday - Sue Cody - 11am
Friday - afternoon - local interviews downtown
Shooting in Chapel Hill TBA and scheduled with Tim Tyson
http://www.ah.dcr.state.nc.us/1898-wrrc/
http://statelibrary.dcr.state.nc.us/nc/bio/afro/riot.htm
http://www.baystatebanner.com/archives/stories/2006/02/020906-03.htm
UNCW newspaper archives
To whom will this project be directed?
When posed with the question - To whom will this project be directed? - I thought to myself, "wow, this is a good question." To answer the question, our group had to determine what our objective is. We felt that it was important that this film make a change in Wilmington, and we realized that it was necessary for the film to reach the hands of those who can actually make a difference. We decided that the film was for the government and social activist groups. We intend to circulate the film in festivals, competitions and local screenings. We also intend to distribute the film to Social activist groups, and government committees that could use the information in the formation of their policies.
Observational Project - Angles and Intentions
The prioritized objective of this production project is not only to explore the historical fidelity and repugnance of the events surrounding the Wilmington race riots of 1898, but to also observe the disheartening consequences that reverberate throughout the community today. A popular, yet bewildering, sentiment amongst certain less-engaged, white southerners is that the racial crimes of the past are neatly sketched into history books with an obligatory tone of remorse, therefore they are wiped clean from our temporal reality. When addressed with issues such as affirmative-action or reparations, some individuals will respond with the rural cliche, "I didn't own slaves or run blacks out of town, so why should I have to pay?" Unfortunately, the reality is that the past is laced inseparably throughout our current racial relations and the socio-economic divide between races. In order to capture, or at least attempt, an honest inquiry into the 1898 Coup D'etat, we must explore the current reality of the African American community in Wilmington, NC.
As a production group, we will begin our motion film investigation by taking black & white, observational images with a 16 mm Bolex. We will work as a four man crew with divided responsibilities to capture spontaneous and hopefully unaffected images. The subject will be the African American communities of downtown Wilmington. Specifically, we will concentrate on the communities of Castle Street(South-side) and North Fourth Street. By taking an observational approach to the contemporary aspects of our research, we hope to attain a more realistic perspective than can be achieved through the analysis of statistics and scholarly data.
The content of the images will greatly depend on the randomness of occurrence. However, we have designed certain approaches and strategies to filming each atmosphere in order to capture a raw perspective without being intrusive or exploitative in regards to the individuals that live and work in the communities. We will observe the social and cultural realities of local residents and the physical atmosphere in which they live, including dilapidated structures, struggling local businesses, and homes. There is no doubt in our minds that the ensuing exploration will be dampened with sadness and possible resistance or discomfort, but there is also the potential of enlightening discoveries.
As a production group, we will begin our motion film investigation by taking black & white, observational images with a 16 mm Bolex. We will work as a four man crew with divided responsibilities to capture spontaneous and hopefully unaffected images. The subject will be the African American communities of downtown Wilmington. Specifically, we will concentrate on the communities of Castle Street(South-side) and North Fourth Street. By taking an observational approach to the contemporary aspects of our research, we hope to attain a more realistic perspective than can be achieved through the analysis of statistics and scholarly data.
The content of the images will greatly depend on the randomness of occurrence. However, we have designed certain approaches and strategies to filming each atmosphere in order to capture a raw perspective without being intrusive or exploitative in regards to the individuals that live and work in the communities. We will observe the social and cultural realities of local residents and the physical atmosphere in which they live, including dilapidated structures, struggling local businesses, and homes. There is no doubt in our minds that the ensuing exploration will be dampened with sadness and possible resistance or discomfort, but there is also the potential of enlightening discoveries.
Project Introduction/Statement of Mission
In November 1898, the first and only successful Coup D’etat to occur on US soil took place in Wilmington, North Carolina. The local, conservative Democratic Party forcibly toppled the city’s duly elected government, including two African American Aldermen. This treason was perpetrated by high standing citizens and leaders of the community. In a craze of racist fervor, white mobs terrorized the city’s African American community, destroying North Carolina’s only black owned and operated newspaper. While the gang of political thugs burned and looted homes and businesses, hundreds of African Americans were exiled from town, or killed. Many, stripped of their rightfully owned land, never returned home. White citizens were also victimized by this tornado of rage. Members of the Republican Party, Fusionists, progressive whites, or anyone that opposed the re-establishment of white rule and supremacy were targeted. Even President William McKinley’s threat of federal military intervention did not pacify the crowd set on destruction and oppression.
When the fire burned out and the smoke cleared, Wilmington had been transformed. The echoing voice of the African American free press had been silenced and muzzled. The racially integrated downtown business quarter was now white as snow. The thriving African American community, once composed of politicians, attorneys, medical professionals, inspired artists, successful businessmen and optimistic entrepreneurs, now was suppressed and segregated. Freed slaves and the children of freed slaves had proven their worth and humanity through educational and financial achievement. Now they were on par with their former slave-masters, competing with white society, only to be bashed back down through the use of violence and intimidation. The promise of freedom, justice, equality and the American dream had finally been realized by the African American community in Wilmington, only to be aborted in a premature demise. In a suicide-like obsession, the city had turned against itself. A fratricide reminiscent of Cain and Abel had occurred in Wilmington, North Carolina.
Malcolm X explained, “You don't stick a knife in a man's back nine inches and then pull it out six inches and say you're making progress. [Nor] can you pull it out all the way and say you are making progress, [because if] you jerked the knife out, it's still going to leave a scar!”
Now, over 100 years later, we find Wilmington a racially separated city with a definitive socio-economic disparity. What effects did the 1898 race riots have on the condition of the community today? Are there any scars left on the back of the African American community of Wilmington? What steps must be taken to heal these wounds? The State Democratic Party is debating a formal apology. There are project proposals to build a memorial and talks of lawsuits and reparation cases. What are the steps needed to be taken to right our past wrongs? These are the questions we wish to investigate in our UNCW Film Studies Documentary Course throughout the semester.
When the fire burned out and the smoke cleared, Wilmington had been transformed. The echoing voice of the African American free press had been silenced and muzzled. The racially integrated downtown business quarter was now white as snow. The thriving African American community, once composed of politicians, attorneys, medical professionals, inspired artists, successful businessmen and optimistic entrepreneurs, now was suppressed and segregated. Freed slaves and the children of freed slaves had proven their worth and humanity through educational and financial achievement. Now they were on par with their former slave-masters, competing with white society, only to be bashed back down through the use of violence and intimidation. The promise of freedom, justice, equality and the American dream had finally been realized by the African American community in Wilmington, only to be aborted in a premature demise. In a suicide-like obsession, the city had turned against itself. A fratricide reminiscent of Cain and Abel had occurred in Wilmington, North Carolina.
Malcolm X explained, “You don't stick a knife in a man's back nine inches and then pull it out six inches and say you're making progress. [Nor] can you pull it out all the way and say you are making progress, [because if] you jerked the knife out, it's still going to leave a scar!”
Now, over 100 years later, we find Wilmington a racially separated city with a definitive socio-economic disparity. What effects did the 1898 race riots have on the condition of the community today? Are there any scars left on the back of the African American community of Wilmington? What steps must be taken to heal these wounds? The State Democratic Party is debating a formal apology. There are project proposals to build a memorial and talks of lawsuits and reparation cases. What are the steps needed to be taken to right our past wrongs? These are the questions we wish to investigate in our UNCW Film Studies Documentary Course throughout the semester.
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