David Zeiger | |
---|---|
Born | 1950 Los Angeles, CA |
Occupation(s) | Film director, producer, writer, photographer |
Spouse | Maryann Nielsen |
David Zeiger is an American film director, writer and producer. He is most well known for the documentary Sir! No Sir! (2005), which is the only full-length film chronicling the extensive antiwar and resistance activity of U.S. troops during the Vietnam War; and for Senior Year (2002), a 13-part PBS documentary series about the senior year of a group of students at Fairfax High, the most diverse school in Los Angeles. [1]
Zeiger was born in Los Angeles in 1950 to Irving and Beatrice Zeiger. He graduated from Fairfax High School in Los Angeles and started attending college. Then in the late 1960s, along with many other young people of that generation, dropped out to become involved in the anti-Vietnam War movement. In a 2005 comment he told Stoney Roads Films, "nothing was more important than joining the fight to end the Vietnam War." He started looking around for ways to participate and found a group of veterans and civilians in Killeen, Texas near the Fort Hood Army base who had begun supporting soldiers who were against the war or resisting the military or both.
Zeiger felt that organizing and supporting dissident GIs would be an effective way to oppose the war itself. These were the guys being sent to fight the war and Fort Hood was a major staging ground for troops heading to the war zone. It was also where many returned after their tours. "These were mostly working class guys," Zeiger told Mother Jones magazine, they "had gone into the military out of patriotic motives or because that was just what you did. And they were becoming one of the strongest forces against the war." [1] He worked at the Oleo Strut GI Coffeehouse in Killeen and for the next two years found himself "in the heart of one of the most intense, exciting, and inspiring movements of the 1960s." He helped resisting soldiers put out their own underground GI newspaper called Fatigue Press, organize demonstrations of over 1,000 GIs against the war and the military, and turn "the Oleo Strut into one of Texas's anti-war headquarters." [2] [1]
By the late 1980s Zeiger was living in Atlanta, Georgia where he started taking pictures of local theater productions in a style reminiscent of Max Waldman. By the mid-1990 he had become "the premier theater photographer in Atlanta" and worked as the staff photographer for a number of local theaters, museums and Atlanta magazine. Over time he became interested in documentary photography and when a large influx of Mexican and Southeast Asian immigrants entered Atlanta, he developed relationships with and photographed their growing communities. This resulted in a "highly regarded" photography exhibit Displaced in the New South which toured throughout the Southern U.S. Photos from the exhibit were published in several magazines. [3] [4]
Zeiger felt what he had learned and experienced could be even better explored through film, so he raised money and proceeded to direct and produce his first film, Displaced in the New South. Released in 1996, the film was broadcast on PBS and the Discovery Channel International and shown at a number of film festivals, beginning his career in film. During this period, Zeiger founded his own production company, Displaced Films. [5]
Displaced in the New South is a 54-minute documentary exploring the complex collision between Asian and Hispanic immigrants moving into suburban neighborhoods near Atlanta. Because Zeiger had deeply immersed himself in the immigrant communities, he was able bridge cultural differences and tell the story from their point of view. He partnered with documentary filmmaker Eric Mofford who co-directed and co-produced the film with him. One reviewer called it "The best treatment of the emerging ethnic and cultural complexity of the 'New South' that I have seen." [6] Berkeley Media described the film as an "insightful case study of a widespread trend that is bringing explosive political upheaval all across America: waves of people, mostly from Asia and Latin America, coming to cities, small towns, and suburban communities that have never before experienced immigration on such a scale." [7] It premiered on PBS in 1996 and was broadcast on the Discovery Channel International, NBC Asia and SBS-TV Australia in 1997. It was screened at the Chicago Latino, Cine Acción Latino, South by Southwest, Doubletake and San Francisco Asian American Film Festivals and won numerous awards. It was the inspiration for The Indigo Girls song Shame on You featured on their 1997 album, Shaming of the Sun. [8]
After finishing Displaced..., Zeiger was looking for a new project when he discovered his 16-year-old son Danny was in love and saw him dance for the first time. He realized "a whole new person was emerging." Zeiger had lost his first son, Danny's older brother Michael, 9 years earlier — an event that had profoundly impacted both of them — and he felt compelled to chronicle his other son's junior year in high school. Zeiger admitted later that this was "Not exactly the most opportune time in a teenager's life for his father to show up at school with a camera." The result was The Band which was released in 1998. It premiered on the PBS series P.O.V. and was also shown on the French/German network ARTE. It was presented at the International Documentary Film Festival Amsterdam and American Film Institute Film Festival in Los Angeles, and was awarded "Best of Show" at the Central Florida Film Festival. Milwaukee Journal Sentinel called it "Interesting, inspiring, and purely entertaining." TV Guide praised its "Astonishing candor", and another reviewer said it "accomplished the impossible. It's made high school band look cool, fun and important." [9]
In 1999, Zeiger returned to his roots and began work on his next project about his own alma mater, Fairfax High School in Los Angeles. By this time, it had become "the most diverse high school in Los Angeles". [2] Zeiger explained the transition since he graduated, "it had evolved from a white, middle class, primarily Jewish school with a reputation for sending lots of kids to the Ivy League (myself not included), into a wildly diverse, exciting campus with students from over thirty different countries and just about every walk of life". [10] He spent a semester at the school finding students who would be in the film and then hired a group of young filmmakers from the UCLA and University of Southern California film schools to spend the 1999/2000 school year filming. After 9 months, production was completed on graduation day in June 2000, and the result was Senior Year, a 13-part series, which was first broadcast in the U.S. on PBS in January 2002. It was also shown in Europe on Planète+ and was a premiere series on the U.S. English/Spanish cable network Sí TV in 2004. Entertainment Weekly commented, "Others have tried to document high school life, but this 13-part series succeeds where those drier efforts failed. High school is a time for experimentation, and finally, a truly experimental filmmaker is there." [11]
Zeiger's next documentary, which premiered in August 2002 at the Museum of Television and Radio (now the Paley Center for Media) in Los Angeles, was Funny Old Guys. A year later it appeared as part of the HBO documentary series Still Kicking, Still Laughing. It's about a group of writers and producers from TVs early days who gathered weekly at a Los Angeles tennis club to reminisce, crack jokes and tell stories. It centers on the final months of Frank Tarloff, a formerly blacklisted Academy Award-winning writer, as he and his friends confront his imminent death. His friends include Bernie West — principal writer for All in the Family and creator of The Jeffersons and Three's Company; Fred Freiberger — one of the original creators of Star Trek; Michael Morris — who wrote over 200 scripts for comedy shows from The Andy Griffith Show to All In The Family ; and Bernie Kahn — who wrote for My Favorite Martian , Bewitched and many other shows. [12] [13]
A Night of Ferocious Joy is a film documenting the first antiwar concert after the September 11, 2001 attacks. On Mother's Day, May 12, 2002, in opposition to the intensifying war on Afghanistan and growing preparations for another war in Iraq, a group of Hip-Hop, Latin Funk, Spoken Word and Visual Artists came together in a performance called ArtSpeaks! Not In Our Name. A sold-out crowd at the Palace Theater in Los Angeles watched performances by Ozomatli, The Coup, Blackalicious, Dilated Peoples, Mystic, Saul Williams, the Pan Afrikan Peoples Arkestra, Jerry Quickley, Hassan Hakmoun, and dozens of other visual artists. Zeiger's film of the event premiered in 2003 at the International Documentary Film Festival Amsterdam and its U.S. festival premiere was at South by Southwest in 2004. [14] [15]
In 2005, Zeiger premiered his most well-known film, Sir! No Sir! , at the Los Angeles Film Festival where it won the Audience Award for Best Documentary. It was about "an almost-forgotten fact" [16] — the anti-war movement and resistance within the ranks of the United States Armed Forces during the Vietnam War. The New York Times reviewer called it a "smart, timely documentary" that "remembers that war and the veterans whose struggles against it are too often forgotten." [17] The film itself argues this history has been more erased than forgotten. Despite hundreds of films about the Vietnam War and its veterans, prior to Sir! No Sir! , the story of U.S. GI resistance to the war had never been told in film and it still holds that distinction.
Evangeline Griego co-produced the film with Zeiger and Peter Broderick was the Executive Producer. It was reviewed and praised in dozens of media outlets. [18] The Film Independent website reported that it "garnered rave reviews during its 80-city theatrical run, including 'Two Thumbs Up' from Ebert and Roeper". [19] The Los Angeles Times called it a "powerful documentary", Newsday said, "Sir! No Sir! so vividly evokes the rage, passion and provocation of the era it chronicles that it feels up-to-the-minute", and another reviewer warned the U.S. government at the time that this was a "film that threatens the war movement with every showing, the Bush administration should outlaw it from all theatres within fifty miles of an armed forces recruiting station." [18]
This Is Where We Take Our Stand debuted on Vimeo as a six-part web series in 2009 and then premiered as a 64-minute documentary on PBS in 2012. It tells the story of three of the 250 veterans and active duty soldiers who testified in March 2008 about their experiences during the U.S. occupations of Afghanistan and Iraq. Called a "riveting film" by the Washington Report on Middle East Affairs, it documents the transformation of U.S. soldiers from enthusiastic to disillusioned troops. One veteran testifies, "It really messed me up when I discovered I was on the bully's team. It's not what I signed up for". [20] [21]
Sweet Old World, Zeiger's first non-documentary, is a drama released in 2012. Influenced by real-life events in his own family, it tells the story of a father and teenage son whose lives are shattered by the death of their son/brother in an accident. Zeiger received a Guggenheim Fellowship to make the film. Evangeline Griego co-produced the film with him. Shown at the Atlanta Film Festival, it was called an "expertly performed character piece" and praised for "the unblinking way it conveys familial loss and a renewed love between father and son that holds a ray of promise for their futures." The reviewer for The Atlanta Journal-Constitution said the film "shows a talented filmmaker thick in the middle of a brave period of transition." [22] [23]
Zeiger's next project brought him back to his documentary roots with Untold released in 2015. This is a deeply personal film telling the story of the harrowing sexual abuse of his teenage daughter at the hands of her high school boyfriend. Co-directed with his daughter, Leah Zeiger, it tells her story and her process of healing through dance. Her father wished he had not been able to make the film, "I would give anything for our daughter Leah to never have met that boy, for her to have had the idyllic teenage experience that dreams and myths tell us is out there. It isn't. What Leah went through, from start to finish, was a textbook case of abuse. Only problem is she never read the textbook. It's not in the curriculum for fifteen-year-old girls in this country. Or boys for that matter." It won the Audience Choice Award for Best Documentary at the Chicago Feminist Film Festival, and the Storytelling Award at DocYourWorld. [24] [25]
In 2020 and 2021 Zeiger created five short documentaries for the American Crime Case series produced by The Revcoms.
The first was called American Crime Case #12: The 1921 Tulsa Massacre and the Destruction of Black Wall Street. It documented the Tulsa race massacre (also called the Black Wall Street Massacre) which took place on May 31 and June 1, 1921, when mobs of white residents, many of them deputized and given weapons by city officials, attacked black residents and businesses of the Greenwood District in Tulsa, Oklahoma. [26] It has been called "the single worst incident of racial violence in American history." [27] The attack, carried out on the ground and from private aircraft, destroyed more than 35 square blocks of the district—at that time the wealthiest black community in the United States, known as "Black Wall Street". [28]
The second short documented the Trail of Tears , a series of forced relocations of approximately 60,000 Native Americans in the United States from their ancestral homelands in the Southeastern United States, to areas to the west of the Mississippi River that had been designated as Indian Territory. The forced relocations were carried out by government authorities following the passage of the Indian Removal Act in 1830. The approximately 60,000 relocated native peoples suffered from exposure, disease, and starvation while en route to their new designated reserve, and as many as 16,000 died before reaching their destinations or shortly after. The documentary quotes Andrew Jackson, who oversaw the initiation of the Trail of Tears on Native Americans: "They have neither the intelligence, the industry, the moral habits, nor the desire of improvement which are essential to any favorable change in their condition. Established in the midst of another and a superior race, and without appreciating the causes of their inferiority or seeking to control them, they must necessarily yield to the force of circumstances and ere long disappear." [29] [30]
Zeiger's My Lai Massacre documents the Vietnam War mass murder of unarmed South Vietnamese civilians by U.S. troops in Sơn Tịnh District, South Vietnam, on 16 March 1968. Between 347 and 504 unarmed people were killed by U.S. Army soldiers from Company C, 1st Battalion, 20th Infantry Regiment and Company B, 4th Battalion, 3rd Infantry Regiment, 11th Brigade, 23rd (Americal) Infantry Division. Victims included men, women, children, and infants. Some of the women were gang-raped and their bodies mutilated, as were children as young as 12. [31] [32] Twenty-six soldiers were charged with criminal offenses, but only Lieutenant William Calley Jr., a platoon leader in C Company, was convicted. Found guilty of killing 22 villagers, he was originally given a life sentence, but served only three and a half years under house arrest. Zeiger reveals what he calls a "secret" of the Vietnam War, that My Lai was not unusual for U.S. forces but actually routine. He quotes Army Specialist 5 Ronald L. Ridenhour, who wrote a letter in March 1969 to thirty members of Congress imploring them to investigate the massacre, as saying "this was an operation, not an aberration." [33]
Zeiger next turned his attention to Donald Trump's efforts to perpetuate the many myths about America through what Trump called "patriotic education". [34]
For issue number 71 in this series, Zeiger examined the little known Easter Sunday, April 13, 1873, mass slaughter of Black people that took place in Colfax, Louisiana. [35]
Year | Film | Director | Writer | Producer | Notes |
---|---|---|---|---|---|
1996 | Displaced in the New South | Documentary | |||
1998 | The Band | Documentary | |||
2002 | Senior Year | TV series documentary | |||
2003 | A Night of Ferocious Joy | Documentary | |||
2003 | Funny Old Guys | Documentary | |||
2005 | Sir! No Sir! | Documentary | |||
2012 | This Is Where We Take Our Stand | Documentary | |||
2012 | Sweet Old World | Feature Film | |||
2015 | Untold | Documentary | |||
2020 | American Crime Case #12: The 1921 Tulsa Massacre and the Destruction of Black Wall Street | Documentary Short | |||
2020 | American Crime Case #44: Trail of Tears | Documentary Short | |||
2020 | American Crime Case #96: My Lai Massacre | Documentary Short | |||
2020 | American Crime: Patriotic Education | Documentary Short | |||
2021 | American Crime Case #71: The Colfax Massacre | Documentary Short | |||
Kenneth Lauren Burns is an American filmmaker and historian known for his documentary films and television series, many of which chronicle American history and culture. His work is often produced in association with WETA-TV and/or the National Endowment for the Humanities and distributed by PBS.
The Alfred I. duPont–Columbia University Award honors excellence in broadcast and digital journalism in the public service and is considered one of the most prestigious awards in journalism. The awards were established in 1942 and administered until 1967 by Washington and Lee University's O. W. Riegel, Curator and Head of the Department of Journalism and Communications. Since 1968 they have been administered by the Columbia University Graduate School of Journalism in New York City, and are considered by some to be the broadcast equivalent of the Pulitzer Prize, another program administered by Columbia University.
Rory Elizabeth Katherine Kennedy is an American documentary filmmaker. Kennedy has made documentary films that center on social issues such as addiction, her opposition to nuclear power, the treatment of prisoners-of-war, and the politics of the Mexican border fence. She is the youngest child of U.S. Senator Robert F. Kennedy and Ethel Skakel.
Courtney Bernard Vance is an American actor. He started his career on stage before moving to film and television. Vance has received various accolades, including a Tony Award and two Primetime Emmy Awards, as well as nominations for a Grammy Award, Golden Globe Award, and Screen Actors Guild Award.
Wesley Studi is a Native American actor and film producer. He has garnered critical acclaim and awards throughout his career, particularly for his portrayal of Native Americans in film. In 2019, he received an Academy Honorary Award, becoming the first Native American as well as the first Indigenous person from North America to be honored by the academy.
Sir! No Sir! is a 2005 documentary by Displaced Films about the anti-war movement within the ranks of the United States Armed Forces during the Vietnam War. The film was produced, directed, and written by David Zeiger. The film had a theatrical run in 80 cities throughout the U.S. and Canada in 2006, and was broadcast worldwide on Sundance Channel, Discovery Channel, BBC, ARTE France, ABC Australia, SBC Spain, ZDF Germany, YLE Finland, RT, and several others.
Steven Pressman is an American documentary filmmaker, journalist, author of two books, and director/producer of the documentary film 50 Children: The Rescue Mission of Mr. and Mrs. Kraus.
Stephen Henderson Talbot is a TV documentary producer, reporter and writer. Talbot directed and produced "The Movement and the 'Madman' " for the PBS series American Experience in 2023. He is a longtime contributor to the Public Broadcasting Service (PBS) and worked for over 16 years for the series Frontline.
Jon Alpert is an American journalist and documentary filmmaker, known for his use of a cinéma vérité approach in his films.
Francine Parker was an American television and film director, who was one of the first female members of the Directors Guild of America. Parker was best known for her controversial documentary, F.T.A., which chronicled the antiwar entertainers tour, Free The Army tour (FTA), during the Vietnam War. The FTA tour and its documentary featured anti-Vietnam War celebrities Jane Fonda and Donald Sutherland interacting very frankly with American soldiers. Parker's film, which was released in 1972, was pulled from theaters within weeks of its release due to heavy criticism. It has been rarely viewed since 1972.
Doan Hoang or Đoan Hoàng or Doan Hoàng Curtis is a Vietnamese-American documentary film director, producer, editor, and writer. She directed and produced the 2007 documentary Oh, Saigon about her family, after leaving Vietnam on the last civilian helicopter as Saigon fell. The documentary won several awards at film festivals and was broadcast on PBS from 2008 to 2012, and multiple channels at streaming services. Hoang was selected to be a delegate to Spain for the American Documentary Showcase. Hoang has received awards and grants from the Sundance Institute, ITVS, Center for Asian American Media, the Ms. Foundation for Women, Brooklyn Arts Council, and National Endowment of the Humanities.
Bill Guttentag is an American dramatic and documentary film writer-producer-director. His films have premiered at the Sundance, Cannes, Telluride and Tribeca film festivals, and he has won two Academy Awards.
Enemies of the People is a 2009 British-Cambodian documentary film written and directed by Rob Lemkin and Thet Sambath. The film depicts the 10-year quest of co-director Sambath to find truth and closure in the Killing Fields of Cambodia. The film features interviews of former Khmer Rouge officials from the most senior surviving leader to the men and women who slit throats during the regime of Democratic Kampuchea between 1975 and 1979.
F.T.A. is a 1972 American documentary film starring Jane Fonda and Donald Sutherland and directed by Francine Parker, which follows a 1971 anti-Vietnam War road show for G.I.s, the FTA Show, as it stops in Hawaii, The Philippines, Okinawa, and Japan. It includes highlights from the show, behind the scenes footage, local performers from the countries visited, and interviews and conversations with GIs "as they discuss what they saw in battle, their anger with the military bureaucracy, and their opposition to America's presence in Indochina." Called by Fonda "a spit and a prayer production" it was far from a big budget Hollywood movie, or even a well-funded documentary. While the movie "is raw," it "underscores how infectious the movement of the 60s and 70s was", and chronicles both the Tour itself as well as the soldiers who came to see it and "the local talent of organizers, labor unions and artist/activists" in the countries visited.
Tiana Alexandra-Silliphant is a Vietnamese-American actress and filmmaker. Her indie movie From Hollywood to Hanoi [1] was the first American documentary feature film shot in Vietnam by a Vietnamese-American. Tiana's life's work, Why Viet Nam?, is about her personal story as a child of war and a widow of peace.
My Lai is a documentary film detailing the My Lai massacre. It aired as an episode of American Experience on PBS.
Raising Bertie is a 2016 American documentary film directed by Margaret Byrne and produced by Ian Robertson Kibbe, Margaret Byrne, and Jon Stuyvesant. It was distributed by Kartemquin Films and aired in shortened form on the 30th season of PBS's documentary series POV on August 28, 2017.
Terry Marvell Whitmore was an American soldier, deserter and actor.
The Newsreel, most frequently called Newsreel, was an American filmmaking collective founded in New York City in late 1967. In keeping with the radical student/youth, antiwar and Black power movements of the time, the group explicitly described its purpose as using "films and other propaganda in aiding the revolutionary movement." The organization quickly established other chapters in San Francisco, Boston, Washington, DC, Atlanta, Detroit, Chicago, Los Angeles, Washington, DC and Puerto Rico, and soon claimed "150 full time activists in its 9 regional offices." Co-founder Robert Kramer called for "films that unnerve, that shake people's assumptions…[that] explode like grenades in people’s faces, or open minds like a good can opener." Their film's production logo was a flashing graphic of The Newsreel moving in and out violently in cadence with the staccato sounds of a machine gun. A contemporary issue of Film Quarterly described it as "the cinematic equivalent of Leroi Jones's line 'I want poems that can shoot bullets.'" The films produced by Newsreel soon became regular viewing at leftwing political gatherings during the late 1960s and early 1970s; seen in parks, church basements, on the walls of buildings, in union halls, even at Woodstock." This history has been largely ignored by film and academic historians causing the academic Nathan Rosenberger to remark: "it is curious that Newsreel only occasionally shows up in historical studies of the decade."
{{citation}}
: CS1 maint: bot: original URL status unknown (link) CS1 maint: location missing publisher (link)Field of Study: Film
Competition: US & Canada