OUR CATALOG

Just over a decade ago it was hard to find women on the streets of Cairo who veiled, a custom that their forebearers struggled to overthrow at the beginning of the twentieth century. But today, many Muslim women in Egypt wear a head scarf called the hejab, and in more extreme cases they cover their entire faces. This absorbing documentary offers a rare opportunity to examine the restoration of veiling and the reasons for its pervasiveness through the eyes of Egyptian women. In unique interviews with women of different ages and backgrounds, COVERED reveals that Islamic tradition, religious fundamentalism, and growing nationalism are not solely responsible for decisions to wear the hejab. Diverse social, economic and political factors, as well as personal preferences, often play prominent roles. As timely as it is compelling, the film shows how complex causes account for a phenomenon that is poorly understood outside the Muslim world.

Inspired by a poem by Maya Angelou, this powerful film explores images of Black women in the media, focusing on the myths surrounding Black women's sexuality. Like COLOR ADJUSTMENT, in which Marlon Riggs looked at images of Black people on television, AND STILL I RISE uses images from popular culture to reveal the way the media misrepresents Black women's sexuality. A combination of fear and fascination produces a stereotypical representation which in turn impacts on the real lives of Black women. AND STILL I RISE intercuts historical and media images with hard-hitting contemporary views of women of African heritage as they struggle to create a new and empowered perspective. Both a celebration and a critique, AND STILL I RISE is essential viewing for those interested in African American studies, women's studies, media studies and popular culture. From the director of THE BODY BEAUTIFUL and COFFEE COLORED CHILDREN.

Lebanese poet and writer Joumana Haddad has stirred controversy in the Middle East for having founded Jasad (the Body), an erotic quarterly Arabic-language magazine. Dedicated to the body’s art, science and literature, Jasad is one of the first of its kind in the Arab world and has caused a big debate in the Arabic region not only for its explicit images, erotic articles and essays on sex in Arabic but also for the fact that an Arab woman is behind it all. Despite Beirut’s external appearance of freedom portrayed through its infamous nightlife and women’s stylish and open revealing fashion sense, this is all still taboo. JASAD & THE QUEEN OF CONTRADICTIONS, by Lebanese director Amanda Homsi-Ottosson, tackles the subject of sexuality in Lebanon, giving insight on the rare use of the Arabic language to discuss sex and erotica. Different views regarding the magazine and sexuality are also given by the head of a women’s rights organization, a sexual health educator and a doctor who performs hymen reconstruction surgeries. Despite the debates, the threats and the lack of funds, one passionate woman shows no sign of slowing down her small steps towards a “sexual revolution” in the Arab world.

SLAYING THE DRAGON is a comprehensive look at media stereotypes of Asian and Asian American women since the silent era. From the racist use of white actors to portray Asians in early Hollywood films, through the success of Anna May Wong’s sinister dragon lady, to Suzie Wong and the ’50s geisha girls, to the Asian-American anchorwoman of today, this fascinating film shows how stereotypes of exoticism and docility have affected the perception of Asian-American women. Produced by Asian Women United, this invaluable resource has been widely used by universities and libraries. SLAYING THE DRAGON: RELOADED is a 30-minute sequel to SLAYING THE DRAGON. RELOADED looks at the past 25 years of representation of Asian and Asian American women in U.S. visual media — from blockbuster films and network television to Asian American cinema and YouTube — to explore what’s changed, what’s been recycled, and what we can hope for in the future.

In the now classic, JOAN DOES DYNASTY (1986, 35 mins), Braderman superimposes her own image over scenes from one of the most popular night time soap operas in American history. With spearing humor, Braderman doesn't even spare poor Krystal in her wicked deconstruction of the fantasies of capitalism, patriarchy and consumption. JOAN SEES STARS (1993, 60 mins) is a savvy peek at the way celebrity culture, especially movies stars, make their way in to our lives, our beds and our dreams. "Braderman looks at life through rose-colored glasses, then wipes them off and dishes the dirt. JOAN SEES STARS is no exception: movies meet life, life meets death and romance meets Perdue chicken in the meditation on our illicit VCR pleasures. Watch, and eat your heart out." --B. Ruby Rich, Cultural Critic