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  Desire

  CLIR, Global Village, Guerrilla Television, Julie Gustafson

  Independent videomaker, Julie Gustafson, invites a diverse group of teenage girls from New Orleans to make autobiographical videos exploring their developing sexuality and identity. An unprecedented long-term collaboration, DESIRE weaves together the girls’ video work, the stories of their changing lives, as well as the family, social and economic contexts in which their desires and choices are shaped.

  The film begins in a primarily African-American housing project named ‘Desire’ and follows the lives of teenagers across diverse racial, political, class, and cultural backgrounds. Cassandra, Kimeca, Tracy, Peggy, and Tiffinie collaborate to tell their own stories of struggle and wrestling with questions of sexual identity, body image, family, future plans, and the pressures of finding one’s way in the world. As the film unfolds over the next five years, DESIRE honors each of the young women’s challenges and achievements, making clear that their ‘choices’ are linked not just to hopes and dreams, but to actual educational and economic opportunity– too often tinged with the racial disadvantage. In one remarkable scene, Kimeca, turns the camera on Gustafson, prompting her to share her own story of teenage pregnancy and the difficult decisions she made about abortion.

  As John Anderson from Variety said: “Top-flight editing and a pace that never falters help “Desire” movingly tell the stories of its five subjects.” Justin Lane Briggs of The New School concurs: “The films the girls make themselves are shockingly honest and revealing…The result is a poignant and moving work, which stirs up a massive cloud of thoughts and issues without ever settling on one side of them… Cassandra and Tiffanie will haunt your dreams.

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  Peephole Art: Beckett for Television

  CLIR, Global Village, Guerrilla Television, John Reilly

  Features definitive versions of Beckett’s recent works written or adapted for television. There are three additional works in The Beckett Project series produced by Global Village: What Where (1988/10 minutes), a video version of Beckett’s last play overseen by the playwright himself, Godot in San Quentin (1988/27 minutes), a fascinating version of Waiting For Godot, produced by inmates of this maximum-security prison, and Waiting for Beckett (1994/86 minutes), a unique television documentary on the life and work of the Nobel Prize-winning writer Samuel Beckett, which includes a rare scene with the playwright critiquing a video performance of one of his plays.

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  Waiting for Godot in San Quentin

  CLIR, Global Village, Guerrilla Television, John Reilly

  A fascinating version of Samuel Beckett’s Waiting for Godot, produced by an all-inmate cast in San Quentin maximum-security prison. There are three additional works in The Beckett Project series produced by Global Village: What Where (1988/10 minutes), a video version of Beckett’s last play overseen by the playwright himself, Peephole Art: Beckett for Television (1992/38 minutes) featuring definitive versions of Beckett’s recent works written or adapted for television, and Waiting for Beckett (1994/86 minutes), a unique television documentary on the life and work of the Nobel Prize-winning writer Samuel Beckett, which includes a rare scene with the playwright critiquing a video performance of one of his plays.

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  Waiting for Beckett

  CLIR, Global Village, Guerrilla Television, John Reilly

  WAITING FOR BECKETT profiles the life and work of Nobel prize-winning author and playwright Samuel Beckett, a writer who shunned publicity throughout his life, and yet became a worldwide cultural influence. More than five years in the making, the 1993 documentary is a blend of rare archival footage, performances of his work, interviews with friends and scholars, as well as excerpts from Beckett’s letters which provide an astonishing and often humorous insight into his personal opinions of his life and art. Co-produced and Directed by John Reilly and Melissa Shaw Smith, WAITING FOR BECKETT was undertaken with the blessing and guidance of Samuel Beckett, who died in 1989 at the age of 83. It depicts Beckett turning one of his last plays ‘What Where’ into a highly stylized video production. It stands as the only known footage of Beckett at work as he critiques the work-in-progress with collaborator John Reilly. It also features letters written by Beckett and excerpts across his body of work, voiced by Irish actor Chris O’Neil. Actors Steve Martin and Bill Irwin perform and discuss their personal response to Beckett’s work. Footage shows Burgess Meredith and Zero Mostel in the first production of ‘Waiting for Godot’ made for television, along with famous performances by Jack MacGowran, Patrick Magee, Billie Whitelaw, and Buster Keaton starring in one of his last film roles in 1964, the only screenplay written by Beckett, entitled FILM.

  Mary Manning, the only known surviving family friend who grew up with Beckett, recounts personal anecdotes of their childhood in Ireland. Never before recorded interviews with the villagers of Roussillon in the south of France recall the important but unknown period in Beckett’s life when, as a member of the French Resistance, he was forced to remain there in hiding. WAITING FOR BECKETT paints a portrait of a painfully shy man who devoted much of his life to his art, spending many impoverished years in Paris, receiving over 40 rejections for one of his early novels, before recognition slowly came his way. At the same time, we see a man who was a loyal friend, generous to a fault, full of good humor and always ready to share a bottle of whiskey over a long night’s conversation. Writer and critic S.E. Gontarski said of the documentary: “No one else has this sort of footage of Sam commenting on and working with his own play. Intercutting Sam’s comments with portions from ‘What Where’ makes for an extraordinary recreation of Sam at work. And seeing Sam alert and at work even in his advanced age is incredibly moving.” Robert Koehler of the Los Angeles Times said: WAITING FOR BECKETT is sure to stand as one of the lasting records of Samuel Beckett’s life and work.”

  Three additional works exist in The Beckett Project series: WHAT WHERE, PEEPHOLE ART: BECKETT FOR TELEVISION, and WAITING FOR GODOT IN SAN QUENTIN.

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  Casting the First Stone

  CLIR, Global Village, Guerrilla Television, Julie Gustafson

  Set against the background of the Supreme Court’s historic decisions on women’s reproductive rights, this documentary looks at the abortion controversy through the eyes of six women activists on both sides of the barricades in Paoli, PA. CASTING THE FIRST STONE focuses on six women who regularly confront each other from opposite sides of the picket line. Three believe that abortion should be an inalienable right. The other three believe it constitutes murder. Shelley Miller, director of a Paoli, PA women’s health clinic, endures constant harassment from anti-abortion groups camped outside the clinic’s doors. Joan Scalia, a Catholic and mother of six, defies her husband to join the most audacious of these anti-abortion groups called Operation Rescue. Sharon Owens, a clinic counselor, minister’s wife and adoptive mother of three, is closer to the middle. She cannot decide when human life “begins,” but feels a religious obligation as a Christian “to be in the place where hard decisions are being made.” Chronicling the daily lives of these and other women, director Julie Gustafson visits anti-abortion blockades, counseling sessions, a visit with a young mother whom protestors persuaded to have her baby, and Planned Parenthood’s emergency board meetings following the Supreme Court’s 1989 Webster v. Missouri decision that allowed states to deny some of the protections set by Roe v. Wade. Appearances include Randall Terry of Operation Rescue, Bill Baird, a longtime pro-choice activist and Faye Wattleton of Planned Parenthood.

  CASTING THE FIRST STONE makes clear that the conflict over abortion is not just political but also about the role and the rights of women in society. Clinic counselors, shaped by first wave feminist activism of the 1960s and 70s argue they are not promoting abortion but are “providing women with choices.” Other pro-life women reply, “You know what offends me about feminists? They say they are speaking for me.”

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  The Trial of the Avco Plowshares

  CLIR, Global Village, Guerrilla Television, John Reilly, Julie Gustafson

  In July 1983, seven United States citizens entered AVCO Systems Division, a manufacturing plant for MX and Pershing II missiles in Wilmington, Massachusetts. They threw blood on blueprints and computers to protest the buildup of nuclear arms. AVCO PLOWSHARES documents the ensuring trial, which includes dramatic testimony on civil disobedience and the question if a greater moral imperative exists beyond the letter of the law. Acting on their own behalf, the defendants argued “the justification defense” to claim their duty as citizens to warn of impending nuclear threats. Jean Hollady, a nurse and mother of four, asks those in the courtroom to picture the threat of one MX missile, containing ten warheads, representing “the equivalent of 260 Hiroshimas.” Frank Panopoulos, an anti-poverty worker, explains, “we were there so these weapons will not be made.” John Schuchardt, a former Marine and an attorney, ask the jury, “in light of weapons with the (equivalent power) of 335,000 pickup trucks full of TNT… please tell me what I could have done.” Expert witnesses and commentators from retired Rear Admiral Gene LaRocque, Daniel Berrigan, and George Wald concur that because of anti-Soviet weapons in Europe, nuclear war could be “eight minutes away.” Howard Zinn says in defense, “creative, inventive, dedicated action is needed by Americans in this courtroom and everywhere else to prevent that risk to the world.”

  Despite permission to film this trial for broadcast, the presiding judge, Edward M. Viola, restricted distribution to educational venues after screening the work-in-progress.

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  The Pursuit of Happiness

  CLIR, Global Village, Guerrilla Television, John Reilly, Julie Gustafson

  A video exploration of the Declaration of Independence’s most ambiguous “self-evident truth” through portraits of six people whose paths intersect at a maximum security prison in Pittsburgh, PA. Molly Rush is a mother of six and a member of the Plowshares Eight who faces jail for damaging nuclear missiles at a GE plant. Rush doesn’t “pursue happiness,” but finds meaning in acting against the threat of total annihilation. Her husband, Bill, an engineer and family man struggles to understand her apocalyptic fears and worries about their children. Molly visits a fellow activist in jail, Warden George Petsock, who opposes breaking the law for any reason. At home, Petsock dreams of retiring and purchasing a mobile home. His wife Ida May ponders the happiness she sacrificed in thirty years of supporting George’s career. Finally, two “lifers,” Ron Grimm, a Vietnam veteran, and Walter Henderson, an African American who works in the prison garden, contemplate the paradox of pursuing happiness while incarcerated and if that right was really meant for everybody.

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  Home: A Documentary About Four Families (Part IV)

  CLIR, Global Village, Guerrilla Television, John Reilly, Julie Gustafson

  The fourth and final sequence of Julie Gustafson and John Reilly’s documentary HOME which portrays a young man who gives up his job to care for his terminally-ill mother in her home. He sums up a mejor theme of the video: “she has never turned her back on anybody, so why should I?” Co-produced by the Television Laboratory of WNET and aired on public television in 1979. Tom Shales of THE WASHINGTON POST wrote, “HOME has immediacy and impact possible with no other medium but television, and an inquisitive compassion that turns cold video images warm and real.” Originally shot in 3/4″ Color and B&W video. See HOME Parts1-3 on Media Burn at https://mediaburn.org/video/home-pt-1-of-2/