William Greaves

A decade after his death, genre-defying filmmaker William Greaves has one last trick up his sleeve with what he considered the most important event he captured on film: a 1972 party he engineered with the living luminaries of the Harlem Renaissance.

A light-skinned African-American family are "passing" in an all-white New England town. When the truth comes out, the more prejudiced neighbors demand their expulsion from the community.

In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?

A struggling songwriter abandons his girlfriend for a flashy woman after landing a hit.

A crooked real estate tycoon tricks a trusting young woman out of her small candy store. When he is found dead, the girl is suspected of the crime.

Joe Louis, portraying himself, is a good influence on a group of Harlem youths who are tempted to "go bad" by a gangster known as Caper, an older brother of one of the youths.

A movie about making movies about making movies. In 1968, William Greaves shot several pairs of actors in a scene in which a woman confronts her husband and ends their relationship. In "Take 2 1/2," Greaves starts with 1968 takes of one of these pairs of actors plus footage of the crew discussing the film's progress. Then, 35 years later, Greaves brings back to Central Park those actors and some of the original crew (plus others) to film a reunion of the characters Alice and Freddie. We watch scenes of these characters and discussions among the actors and crew. Greaves explores and dramatizes the dialectic in the creative process.

An architect whose iconic buildings defined a newly independent Cambodia struggles to come to terms with the reckless development that threatens his legacy.

A retrospective look at the career of Paul Robeson and his legacy as both an American and a citizen of the world.

A documentary on the career of William Greaves, featuring Greaves, his wife and co-producer Louise Archambault, actor Ruby Dee, filmmaker St. Clair Bourne, and film scholar Scott MacDonald. Released within Criterion's Symbiopsychotaxiplasm set.

This documentary presents clips from black films from 1929 through 1957.

Unsuccessful gambler 'Dollar Bill' Burton lives in a crummy New York basement room with old friend Bob and a new roommate, friendly blues singer 'Alabama' Lee. But, tired of being broke, Dollar Bill gets more steady employment...doing illegal errands for gangster Bad Boy George. The now prosperous Bill ignores pretty, adoring Etta and takes up with sultry singer Regina. Will Bill's way of life catch up with him? Will his upright friends be more successful in the end?

"This documentary film covers a 24-day arts festival in Dakar, Senegal that highlighted Black contributions to the cultural heritage of mankind and was attended by an extraordinary cast of over 2,000 luminaries - including Duke Ellington, Langston Hughes, Alvin Ailey, Aime Cesaire, and Leopold Senghor - from dozens of countries. The film depicts performances by African and American entertainers and shows various works of art while also providing unparalleled insight from the perspective of the African American delegation. The film was written and directed by William Greaves" (US National Archives).

The film questions whether the Civil Rights Movement of the 1960s effectively changed the Black community, and American society more widely, and examines the notion of Black power itself. Greaves interviewed major Black leaders, such as Franklin Thomas, Clifton Wharton Jr., Eleanor Holmes Norton, and Lerone Bennett Jr. to present a candid take on issues within the African American community, revealing wider societal problems in America at large.

A decade after his death, genre-defying filmmaker William Greaves has one last trick up his sleeve with what he considered the most important event he captured on film: a 1972 party he engineered with the living luminaries of the Harlem Renaissance.

A report on the National Black Political Convention held in Gary, Indiana, in 1972, a historic event that gathered Black voices from across the political spectrum, among them Jesse Jackson, Dick Gregory, Coretta Scott King, Richard Hatcher, Amiri Baraka, Charles Diggs, and H. Carl McCall.

A report on the National Black Political Convention held in Gary, Indiana, in 1972, a historic event that gathered Black voices from across the political spectrum, among them Jesse Jackson, Dick Gregory, Coretta Scott King, Richard Hatcher, Amiri Baraka, Charles Diggs, and H. Carl McCall.

A report on the National Black Political Convention held in Gary, Indiana, in 1972, a historic event that gathered Black voices from across the political spectrum, among them Jesse Jackson, Dick Gregory, Coretta Scott King, Richard Hatcher, Amiri Baraka, Charles Diggs, and H. Carl McCall.

The Black middle class, torn between white goals and Black needs, are examined by producers William Greaves and William Branch in a 90-minute NET Journal documentary.

The Black middle class, torn between white goals and Black needs, are examined by producers William Greaves and William Branch in a 90-minute NET Journal documentary.

In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?

In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?

In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?

In 1971, maverick filmmaker William Greaves trained his cameras on both Muhammad Ali and his opponent, Joe Frazier, ahead of the “Fight of the Century” at New York’s Madison Square Garden. The epic battle was supposed to be Ali's big comeback following the suspension of his boxing license in 1967. In addition to the media circus surrounding both combatants, Greaves shot the match in its entirety from a dizzying array of camera angles, making the director's cut of The Fight both an invaluable historical document as well as a virtuosic piece of filmmaking

Examines the history and purpose of the "merit system" used by the U.S. Civil Service in hiring and promoting Federal Government workers. Shows how the system impacts jobs and career prospects for women and minorities.

A movie about making movies about making movies. In 1968, William Greaves shot several pairs of actors in a scene in which a woman confronts her husband and ends their relationship. In "Take 2 1/2," Greaves starts with 1968 takes of one of these pairs of actors plus footage of the crew discussing the film's progress. Then, 35 years later, Greaves brings back to Central Park those actors and some of the original crew (plus others) to film a reunion of the characters Alice and Freddie. We watch scenes of these characters and discussions among the actors and crew. Greaves explores and dramatizes the dialectic in the creative process.

A movie about making movies about making movies. In 1968, William Greaves shot several pairs of actors in a scene in which a woman confronts her husband and ends their relationship. In "Take 2 1/2," Greaves starts with 1968 takes of one of these pairs of actors plus footage of the crew discussing the film's progress. Then, 35 years later, Greaves brings back to Central Park those actors and some of the original crew (plus others) to film a reunion of the characters Alice and Freddie. We watch scenes of these characters and discussions among the actors and crew. Greaves explores and dramatizes the dialectic in the creative process.

A movie about making movies about making movies. In 1968, William Greaves shot several pairs of actors in a scene in which a woman confronts her husband and ends their relationship. In "Take 2 1/2," Greaves starts with 1968 takes of one of these pairs of actors plus footage of the crew discussing the film's progress. Then, 35 years later, Greaves brings back to Central Park those actors and some of the original crew (plus others) to film a reunion of the characters Alice and Freddie. We watch scenes of these characters and discussions among the actors and crew. Greaves explores and dramatizes the dialectic in the creative process.

Directed by African American William Greaves and narrated by actor Ricardo Montalban, Where Dreams Come True is a 1979 NASA film highlighting the contributions of women and minorities and encouraging more to consider a career at the agency. The documentary includes interviews with astronaut-scientists Kathryn Sullivan and Ronald McNair, research psychologist Patricia Cowings, engineer Ruben Ramos, and former astronaut and deputy administrator Frederick Gregory. Much of the work depicted in this film relates to the fledgling Space Shuttle program - which was two years away from its first mission.

"This film explores how freedom of speech — including dissent — is afforded to all Americans, and shows freedom of expression in art, music, dance, architecture, and science. The film also emphasizes the importance of the individual’s contribution to the whole of society and demonstrates how a productive and creative society is formed by the open and respectful exchange of ideas. The film was written, produced, and directed by William Greaves" (National Archives).

"This film explores how freedom of speech — including dissent — is afforded to all Americans, and shows freedom of expression in art, music, dance, architecture, and science. The film also emphasizes the importance of the individual’s contribution to the whole of society and demonstrates how a productive and creative society is formed by the open and respectful exchange of ideas. The film was written, produced, and directed by William Greaves" (National Archives).

"This film explores how freedom of speech — including dissent — is afforded to all Americans, and shows freedom of expression in art, music, dance, architecture, and science. The film also emphasizes the importance of the individual’s contribution to the whole of society and demonstrates how a productive and creative society is formed by the open and respectful exchange of ideas. The film was written, produced, and directed by William Greaves" (National Archives).

An American detective investigates the drug trade's influence on violence in Jamaica and corruption among government officials and high-ranking members of the police force.

An American detective investigates the drug trade's influence on violence in Jamaica and corruption among government officials and high-ranking members of the police force.

An American detective investigates the drug trade's influence on violence in Jamaica and corruption among government officials and high-ranking members of the police force.

In this intimate portrait—produced for a segment of National Education Television's "Black Journal" television program—legendary jazz musician Alice Coltrane plays the harp and discusses her thoughts on music, spirituality, family, and the legacy of her late husband, John Coltrane.

Documentary about Ali's rise to glory, beginning with his "Cassius Clay" days back in Louisville.

Documentary about Ali's rise to glory, beginning with his "Cassius Clay" days back in Louisville.