2022 TWN Production Workshop Application Available Now!
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The Third World Newsreel Production Workshop is a unique “hands-on” media production training program providing practical skills and resources for emerging filmmakers. Offering tools to create fiction or documentary projects, the Media Production Workshop carries on TWN's mission of promoting independent cinema by and about communities of color and other underserved groups and their progressive allies.
The Production Workshop meets one evening a week at 6:00 PM virtually and an additional 6-8 Saturdays for labs. As the pandemic eases, the classes will move to in-person meetings near the Third World Newsreel office. The time commitment needed to participate in the program is high and selected fellows must be able to attend regular class meetings as well as meet the out-of-class demands of preproduction, production, and post-production.
Prior film, video, or related experience is helpful but not required; self-initiative, openness to feedback, a progressive and collaborative spirit are, along with a commitment to meeting class production deadlines and completing one’s film project.
The Production Workshop is limited to 9 participants. A written application is required and selected applicants are chosen for interviews. The cost of the workshop this year is $600, payable in installments.
The TWN Production Workshop is led by Chrystian Rodriguez and Daniel Kim and is dedicated to the memory of Herman Lew, longtime Workshop Director, filmmaker, and cinematographer. Past Workshop grads include award-winning filmmakers Daresha Kyi, Yance Ford, Byron Hurt, Paula Heredia, Renee Tajima-Peña, Jamal Joseph, and Randy Redroad, and many others.
Third World Newsreel works with New York City-based media centers, universities and community groups to host production workshops, seminars and events, and gratefully acknowledges the support of the National Endowment for the Arts, the New York State Council on the Arts with the governor and the State legislature, the NYC Department of Cultural Affairs and the City Council, the Peace Development Fund and individual donors.
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at Forum des Images, France
Sun, Jan 23, 3:30 p.m. Paris Time
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This poignant documentary profiles a young black woman's struggle to confront the legacy of a physically abusive father and her headlong flight into drug abuse.
"...examines the potential for violence and abuse that underlies the carefully tended facade of middle-class respectability..."
- Valerie Smith, Professor of English, UCLA
"A wrenching portrait of a woman confronting drug addiction and a legacy of abuse…"
- A.O. Scott, New York Times
Directed by Camille Billops, James Hatch. With Billie Browning, Suzanne Browning. 4K digital restoration by IndieCollect in collaboration with Dion Hatch of the Billops Hatch Estate, with funding from the National Film Preservation Board of the Library of Congress; courtesy Third World Newsreel. Archive repository: UCLA Film & Television Archive. 30 min.
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at Forum des Images, France
Sun, Jan 16, 8:30 p.m. Paris Time
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An imaginatively choreographed dance interpretation of the ballad by Nina Simone on four common stereotypes of Black women.
"A dance film set to the music of Nina Simone; her breakthrough work."
- BAMcinematek
"Pioneering, provocative and visionary, the L.A. Rebellion films form a crucial body of work in post-war cinema… Julie Dash's dazzling film is both a critical response to female stereotypes and one of the most brilliantly released films about dance."
- George Clark, Tate Modern
"For young women of color working in personal forms of film and video, Julie Dash has become a model of how to reconcile emotions and narrative with cultural specificity."
- B. Ruby Rich, Sight and Sound Magazine
Directed by Julie Dash. 1974. Color. 7 min.
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Fri, Jan 14, 8:00 p.m. EST
To Save and Project:
The 18th MoMA International Festival of Film Preservation
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A sculptor, ceramicist, photographer, painter, and nurturer of underappreciated Black artists, Camille Billops, together with her husband James Hatch, wove together documentary observation, fictional restagings, and oral history to create brutally candid portraits of her own family (Finding Christa) and the postwar Black experience in America (The KKK Boutique: Ain’t Just Rednecks). In Suzanne Suzanne, their first collaboration, Billops and Hatch confront her niece’s harrowing experiences of abuse and heroin addiction.
Directed by Camille Billops, James Hatch. With Billie Browning, Suzanne Browning. 4K digital restoration by IndieCollect in collaboration with Dion Hatch of the Billops Hatch Estate, with funding from the National Film Preservation Board of the Library of Congress; courtesy Third World Newsreel. Archive repository: UCLA Film & Television Archive. World premiere. 30 min.
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Deadline: Monday, January 17, 10 AM ET
Jan 18, 2022 18:00 (MST)
Presenter: Molaundo Jones, Founder of The Clever Agency
When: Tuesday, January 25, 6:00 PM - 7:30 PM EST
Where: Online via Zoom
Cost: $35
Feb 10 2022 19:00 (MST)
Feb 10 2022 19:00 (MST)
Closes: February 11, 2022 11:59 PM PDT
Deadline: Mar 7 2022 16:30 (MST)
April 15, 2022
Deadline: Jul 15 2022 16:30 (MDT)
Deadline: April 3, 2023
Deadline: Open
Deadline: Open
Deadline: Open
Learn More
More Info
Learn More
Learn More
Center for Communication
Volunteer Lawyers for the Arts Classes
The Standby Program's Preservation and Post-Production Services
Cinema Tropical's Weekly Newsletter
Documentary Magazine
Filmmaker Magazine
TWN Stock Footage
More Resources for Filmmakers
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Read our monograph online!
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TWN is supported in part by the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, public funds from the New York City Department of Cultural Affairs in partnership with the New York City Council, the National Film Preservation Foundation, and the Peace Development Fund, as well as individual donors.
TWN also gratefully acknowledges support from an NEA CARES grant, the NY Community Trust, and a Humanities New York CARES Grant with support from the National Endowment for the Humanities and the federal CARES Act. Any views, findings, conclusions, or recommendations expressed in our programs do not necessarily represent those of the National Endowment for the Humanities.
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