Ep. 52 – Race in Cinema: A Conversation with Rebecca Campbell

[0:00:07 Peniel] Welcome to race and democracy. A podcast on the intersection between race, democracy, public policy, social justice and citizenship. On today’s episode, we’re pleased to be joined by Rebecca Campbell, who is the CEO of the Austin Film Society and who also has an M f A from University of Texas at Austin. Well, thank you. Thank you for joining us and in the context of this ongoing pandemic and really all of the racial upheaval that we’re seeing really all around the country and the racial disparities related to pandemic, but also the criminal justice system and and we’re seeing massive protest all around the country. I wanted to talk about art and film and the way in which culture it can be transformative and also talk about social justice and the inequities might that might be in that system And that supply chain. And I thought that you would be the perfect person. The perfect yes toe have on to talk about this because the Austin Film Society is such an important part of the city of Austin’s cultural milieu.

[0:01:33 Rebecca] Well, well, I I am I’m really honored to be asked to be part of your podcast. Um, you’re always so insightful and and it’s such a fountain of information and really positive thoughts on this topic. So I appreciate the opportunity Thio put you know, a F s in the spotlight, and I would love to get into the conversation with you.

[0:01:57 Peniel] Yeah, so let’s let’s start What what can we do? How can both the Austin Film Society but art and culture and movies both Aziz vehicles of popular culture, but also as vehicles that employ people that provide health care for people that provide professional opportunities for people? What can we do in the city of Boston? How can, um, art and culture, but really film be something that’s transformative and healing for us at this particular moment?

[0:02:31 Rebecca] Yeah, it’s such a great question to ask, because it’s not necessarily the first thing that’s going to come to mind, right? I mean, when people, when their shelters threatened and you know people’s livelihood is and disproportionately in communities of color. So I really appreciate Let’s take a half a now er and ask about art and culture, and I think let’s just talk about the power of story and how it goes back to the I guess the very first people sat around, and that’s what humans do, right? We add meaning we we And it’s like the most fundamental thing that we dio for for the quality of life and the power of image. Um, so the film society got started with with the idea that we need to be in a room together, watching movies on the big screen, and we’re still committed to that, even though right now our cinemas closed. But I think the topical moment is not about elaborately constructed work of art. That’s many, many years in the making. I think right now we’re talking about the power of image with these horrific images that we’re seeing that we saw, you know, Um, just watching the death of George Floyd on screen, the that is was and now precipitating, you know, massive protest ing eso. So I would love to actually hear your reflection back to me on. Is there something about the power of image there that’s intrinsic to the US?

[0:04:06 Peniel] Yeah. You know, I think that the George Floyd Thean imagery of George Floyd being really publicly executed has been very, very powerful. I think it’s also very, very traumatic. So I think one of the things that image was viewed millions of times. But I do think that that kind of imagery, um, should be taken down. And I think that there’s there’s a there’s at least a conversation happening now that these sort of images and these scenes of of lynching, these scenes of public executions and humiliations, um, they don’t actually necessarily breed more more empathy or understanding of humanity. There’s something, um um that’s very, uh, exploitative about it, especially considering that this person was a father. He’s somebody’s son. Um, he’s somebody’s partner. Hey was loved by the community, and none of us would want to see our loved one publicly executed, let alone that public image circulating globally for all time s. So I think that it Zaveri complex in that way. But I also think I agree with your notion of the power of imagery and the power of this story because that image certainly has precipitated, um, some consequences with the four police officers fired, but it’s it’s precipitated, really massive demonstrations and upheavals that are rooted and connected toa much longer. Um um issues and much longer historic uh, inequities and oppression. Um, in this country. Yeah, but when you when you think about the power of story, what is the Austin Film Society Dutilleux Sort of leverage that power of story not just during this time of the pandemic, but just just as a as a film society.

[0:06:08 Rebecca] Well, we we we address the entire film ecosystem and create impacted opportunity here in our region because we’re outside of the known centers for film of Los Angeles and New York. Um, and we do it, um, really in there’s like So I would say, three pillars. One being itself, the curation and presentation of great art from throughout history and from from around the world. Secondly, the nurturing of artists and recognizing the long journey to develop your creative voice and then lastly, um, industry jobs, you know, whether they’re curated or not, simply fostering production in Austin. That’s going to create the jobs, hopefully good union jobs with with health care and a pension, Onda lots of economic activity and the opportunity for people to hone their skills. So you’ve got those three pillars and we’re intervening in all of those

[0:07:14 Peniel] Now when we talk about the issues of racial equity, social equity, gender equity. How is the Austin? How is Austin’s film ecosystem in those in that regard?

[0:07:31 Rebecca] Well, let’s let’s look at what our filmmakers support programs. Something that we started back in the mid nineties with the idea of of getting cash dollars to emerging filmmakers and helping support their journey. Eso since that was started by our founder, Richard Linklater, back then, um, he’d had the opportunity Thio get his film made and seen. It was incredibly power empowering for him, and he wanted toe figure out a way that artists could give back so we would do fundraisers by, you know, we would show a Hollywood movie and bring in talent and then raise money and give it back. Well, it’s grown thio $2 million that’s been given out Thio over 400 filmmakers since then And just looking, say, at the last three years, um, the grantees about three quarters of the grantees were either and or female, identifying or identifying with communities of color. And when you when you contrast that to the industry, um, if if your listeners like statistics, I would direct them thio the work of Dr Stacey Smith out of USC, Annenberg and I mean just one set of stats. Um total. This is this would have been, um, and the number of directors by gender and underrepresented status across 1300 films from 2000 and 7 to 2019 82% white males, 3.9% white females, 12% underrepresented males, less than 1% underrepresented females. So if you contrast that reality of the industry to the way that the film society is seeking out and distributing funds, Um, I’m very, very proud of the effort that we’re making. I also realized it’s such a drop in the bucket. There’s so much more to be done. The one other thing I want to tell you about the program is that it’s not just cash. It’s also access to major creators and access to coaching. So, you know, our our staff works with the selected filmmakers on. We have our artists intensive labs in which we’ve we’ve had, you know, filmmakers of color who have gotten connections, um, toe Hollywood and and been able to go on and succeed and achieve in that difficult system.

[0:10:11 Peniel] Yeah, and I want to talk about that when you think about trying to achieve in Hollywood, or just a za professional filmmaker or artist, the power of story as you as you discussed earlier, especially given thisted time. I mean, we’re gonna, of course, see in the near future stories about the pandemic, um, stories about racial inequity stories about people who have suffered because of health disparities. And now we’re seeing these protests in Minneapolis and around the country. When we think about the power of stories, how can film really help us understand the times that we’re living in now, especially in a city like like Austin, where we see you know, it’s a city that suffers the effects of gentrification, both the negative effects and the positive investment of gentrification. It’s a city that’s growing whiter in certain ways, or at least less black in terms of its African American population down to about 7.8%. Um, it’s a city with huge disparities and wealth that seem intractable when we think about, um, the Silicon Valley here and all the wealth that’s coming here. But that’s not being distributed evenly. Eso what can How can the power of story. And how can what can filmmakers and artists due to reflect the reality of this moment?

[0:11:47 Rebecca] Um well, they’ve got to be, um, afforded the opportunity Thio get their voice heard. Film is so incredibly powerful. People are so drawn to it. Um, but just like any any art form, you know, there’s a massive learning curve. And in the case of film, it’s an expensive learning curve. Um, so I I think we have to acknowledge the importance of funding space and encouragement. Um, and and that is what these filmmakers support programs were set up to. Dio. Um, there’s a There’s a technical learning curve. There’s the experimentation with narrative learning curve. And then there is getting your film out and getting people toe. Watch it. There’s absolutely so much to be learned. I suppose the University of Texas can make a difference, as there are hundreds of eager students entering that program every year. Um, but getting getting back to the power of story, the the DNA of the film society has been do it yourself, and that’s not because it’s fun or easy at all. It’s simply because, um, if you want to tell the story you want to tell you you’re gonna have to be in control of the resource is right It z e. I remember years ago we had the great American filmmaker Charles Burnett came to town and was giving a talk to some students at Houston Tillotson, and somebody asked him the classic question about advice on breaking into the industry. And he said, Hey said, You know, your it’s not hard to break into the industry. What’s hard is to tell the story you want to tell. Um, so it’s all about recognizing and funding and encouraging underrepresented voices and untold stories.

[0:13:44 Peniel] Well, Charles Burnett is one of my favorite film directors, and Killer of Sheep is his masterpiece from 1977 years at U. C. L. A Film School. When, when? When you think about African American stories, how come the power of the university universality of something like Killer of Sheep? Or even last year, Queen and Slim, which I thought was an excellent film. I thought it was brilliant film, a lot of times air pigeonhole and sort of African American films or black films, and people sort of don’t see the universality in that art. And certainly Queen and Slim, which is about an African American couple who meet on a first date and become on the run from the police and law enforcement after a stop. A car stop goes bad, is very, very much on my mind, considering what’s happening nationally. But when you think about black artists and black films, how come a lot of times they’re not universally accepted, or if they are, as in the case of a couple of years ago, Green Book was the best picture they really are, you know, directed by whites who rely on the really racist cliches. Andi, sort of a master slave dialectic between African Americans and whites. So sort of the Driving Miss Daisy Green book framework paradigm is so much more easily marketable than something that really reflects the complexity of black life in America,

[0:15:23 Rebecca] Right? Well, it it has to do with who’s in the director’s seat and who’s heading up the marketing team and whose some cutting loose the financing, its’s every aspect of the industry and, you know, because just just like every other aspect of America, you’ve got this legacy of hundreds and hundreds of years of oppression and discrimination. Its’s got to turn around. I mean, I think it’s it’s just clearer than ever in this moment on day. And, you know, I think that it to me. Ah, higher consciousness about this has bubbled up over the last few years. Um, and we we did have the hashtag oscarssowhite and hashtag time’s up that that, you know, did surface. And I think incremental change is afoot, but I truly feel that until African American filmmakers are are driving the product that they’re creating and every aspect of it from from the like, I said, from the financing to the distribution that the problem that you’re talking about is going to persist. Um, we’ve talked about and read up on how it’s so entrenched that the people who are benefitting from the system don’t even know that they are. You know, they just assume that their privilege and their power, that there’s something about that that they’ve earned. Um and then the people who are trying to fight their way into the system have toe, you know, first start by pointing out that there’s a problem. So I guess I go back to the statistics they’re shocking.

[0:17:07 Peniel] Yeah, And so when we think about where we’re at now and I want to talk a little bit about documentary filmmakers, um, African Americans have a hard time getting into the documentary filmmaking aspect of this, too. But it’s so crucial, and there’s been sort of, ah, renaissance of documentaries both when we think about in the Academy of Wards and at that high level, but just sort of interest in documentaries, a range of documentaries. But I still don’t see um, certainly Ava Duvernay’s The 13th Made a big splash, and Ezra Edelman’s documentary on Really Seven Part on O. J. Simpson won the Oscars. But Wow, what about that aspect? That the aspect of documentary filmmaking and sort of telling stories that whether there by black filmmakers but stories that focus on racial justice?

[0:18:00 Rebecca] Well, yeah, it has been, um, a golden age of documentary the last 20 years, you know, it’s really come into its own, Um, and just like every other aspect of the industry, there’s, ah, underfunding of underrepresented voices. Um, e don’t know. To take it to a local example. We have a filmmaker that we’ve nurtured by the name of Chelsea Hernandez and her film that came out in the last couple of years. Building the American Dream is about Latino workers and the death rates on job sites of these people in Dallas and Austin who are building these skyscrapers that are, all of, you know, the representative of the great prosperity of Texas. Eso A story like that. It takes years, and it takes Resource is on. Did you know you have to, especially with documentary when if you’re telling us a story in real time, you’ve got to be able to show up with your crew in your camera when when a twist and turn in this story is taking place. So in that regard, it seems as if you have. It seems like it’s such a luxury to be able to do that. And it has to be recognized that it’s a profession, and you’ve got to give people the time and space and resources to let those stories unfold. Um, there’s another Austin filmmaker who I believe teaches at U. T. P. J. Revolved. His current film is, um, call her Ganda, um, about violence against transgender violence in the Philippines. Um, they’re million’s and million’s of stories waiting to be told, Um, so I would want I would encourage because we could spend the whole time talking about how the system is kind of a nightmare. But we could also say, Let’s get back to the spirit of pick up the camera and and start filming. Um, And in that regard, the film society does operate the public access function in Austin. I don’t I don’t know if I if if you knew that, I don’t know if I had a chance to share that with you. But about three years ago, we took over the contract, and the city does provide a modest amount of funding and a facility with incredible state of the art cameras and a super friendly staff. And with with just a really low barrier to entry, which is just a couple of classes, um, Austin residents can take those cameras out and just just do it, you know, just get started doing it and can also receive help getting stories put on public access stations and also on social media. Eso I guess

[0:20:52 Peniel] that’s amazing. Yes, another U T Austin filmmakers. Yeah, K. Smith, who is African American Yes, Well, so we do have some who are making waves in the industry. But that leads me to another question as well. You know what? What can be done in terms of you just give us one example. But, um, the Austin Film Society, what can be done once we are past this moment of co vid 19. But we’re dealing with the wreckage that has happened to the city. The city’s most vulnerable communities, racially segregated communities, economically segregated communities. What can we do to have social impact positive social impact And also tell those stories Tell those stories of the people who have been left behind right here in Austin even before the racial pandemic, Um, and the racial disparities of this pandemic, but but certainly are going to be even in a deeper hole after,

[0:21:56 Rebecca] Um, yeah, we we, um that’s right. We were really looking pretty hard in our culture of our own organization of equity and inclusion, and I’ve noticed in the pandemic, um, this the stress of the pandemic, all the all the phone calls are about, like, burn rate and cash flow. And what’s it gonna look like on the other side? and it’s like the conversation of equity and inclusion. I just saw it getting sidelined and recognized that it’s it’s got to get centered again. So looking at our own hiring practices and the pipeline for promotion and leadership in the organization and then participating with the City of Austin in their efforts, um, to, um, Thio address long standing issues of equity and inclusion. So, um, your you might you. I’m sure you’re aware that there is a community wide conversation taking place in Austin about racial equity and this way of Austin’s actual the actual funding that comes from hotel occupancy taxes, which is going to be decimated for a period of tomorrow. But it will come back. Um, the priority is that equity is not going to be a separate effort, but infused throughout, um, and that this that that it’s it’s race that’s getting four grounded, um, where that needs to no longer be a predictor of the quality of life outcomes. So I’m it’s been exciting to have the arts community gather and discuss this. And then the question is, how can the funding be distributed more equitably? Eso that conversation has to keep going and that funding has to be distributed more equitably. Um and, um And then I think I did wanna, um eso We’ve talked about how the tools are available at Austin Public Weaken. Talk about the fact that at Austin studios were encouraging film production. And we I think workforce training and I’m getting people, um, of color, the opportunity to get paid toe learn, and also the encourage the employers, um to do on the job training is there’s a potential huge upside with that and then and then last. I do want to talk about coming to the movies at our theater because the films are so carefully curated and eso special. So everything we’ve got to do more and better in every regard. And I think will be, um, you know, on our heels a little bit, trying to recover economically a same time.

[0:24:41 Peniel] All right, we’ll leave it at, we’ll leave it right there. We’ve been talking with Rebecca Campbell about the power of story, the power of image and really the Austin Film Society’s efforts to bend the curve in terms of racial justice and equity in the context of this cove in 19 Pandemic and really, the crisis of race and democracy that we’re witnessing unfurl all around us in Minneapolis and other cities with the death of another ah, black person, George Floyd, um, recently and and the conflagrations and the rebellions in the protests that we’re seeing. Um, so I appreciate you coming to our race and democracy Podcast. I think this has been very enlightening, um, to see the wonderful work that the Austin Film Society is doing to try to promote racial equity and access within the entire film ecosystem in Austin and beyond. So Rebecca Campbell, CEO of the Austin Film Society Thank you.

[0:25:43 Rebecca] Thank you so much. Peniel

[0:25:45 Peniel] Thank you. Thanks for listening to this episode and you can check out related content on Twitter at Peniel Joseph. That’s P-e-n-i-e-l  J-o-s-e-p-h and our Web site, CSRD.LBJ.utexas.edu and the Center for Study of Race and Democracy is on Facebook as well. This podcast was recorded at the Liberal Arts Development Studio at the College of Liberal Arts at the University of Texas at Austin. Thank you.