That's Black Entertainment

A look at the destruction that follows the breaking of long-neglected dikes and the measures being taken to prevent future problems.

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.

Produced by the Equal Employment Opportunity Commission, this film traces the ongoing struggle for equality by the Spanish-speaking residents of the United States. Through a fictitious scenario and real discussions with a range of individuals, including local business leaders, parents, and student activists, the film explores job discrimination and the resulting hardships within the Hispanic community. Many of the interviews are conducted by actor Anthony Quinn, who relates his own family's struggles as Mexican immigrants in East Los Angeles.

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.

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

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.

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.

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?

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 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.

After ex-con Joe Braxton violates his probation, he is given a second chance. All he has to do is drive a group of special kids across the country.

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

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.

A man returns to his home of Jamaica from journey. Along the way, he meets up with famous reggae bands of the time.

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.