Henry Hampton, Selma, and Eyes on the Prize

12 Dec
Henry Hampton and G. Robert Hohler marching in Selma, Alabama on the day of James Reeb's memorial service. Photo by Thomas Adams Rothschild.

Henry Hampton and G. Robert Hohler marching in Selma, Alabama on the day of James Reeb’s memorial service. Photo by Thomas Adams Rothschild.

A new film, Selma directed by Ava DuVernay and produced by Oprah Winfrey, has opened in theaters. Selma is a dramatized version of the tumultuous events in that town that became a turning point in the civil rights movement. Civil rights activists had been working to increase voter registration among African-Americans throughout the fall of 1964. These efforts led to clashes between law enforcement in Selma and civil rights activists, and during a protest on February 18 an unarmed man, Jimmie Lee Jackson, was killed by Alabama State Trooper, James Bonard Fowler. In response to Jackson’s death, and in an effort to raise awareness about voting restrictions, John Lewis and Hosea Williams attempted to march on March 7, 1965 but were met with brutal resistance from state troopers and deputized citizens on the Edmud Pettus Bridge.

That same night ABC broke into its scheduled film Judgment at Nuremberg to broadcast images of violence from Selma. A small Southern town became the focus of the entire nation and after the images of the brutalized marchers were broadcast Martin Luther King issued a call for civil rights activists to come to Selma to help continue the march. A young Henry Hampton, originally from St. Louis but working for the Unitarian Universalists in Boston, was among the people who arrived to support the marchers. He was a firsthand witness to the events in Selma during the march on Turnaround Tuesday and later spoke about what he experienced there,

“I was in Selma, and it was a story that at that point—literally it was the only time in my life that I’ve ever been prophetic—it was a moment when we were standing there on the bridge, the Pettus Bridge, in Selma. There were cameras buzzing overhead…the president and federal government in all its power was there. We had terrific villains. There was a man named Al Lingo, who was the head of the Alabama State Police, that most don’t remember. They remember George Wallace but together they were a formidable opposition who were literally killing people, and I looked around and said to myself, not being a native Southerner, I looked around and said, ‘This could make a terrific movie,’ and put the idea away for twelve or fifteen years. When someone asked me the question, if you had your absolute druthers and the money, what would you do? Ten seconds it came back, it would be the television history of the civil rights movement…something fundamental changed in the country on that bridge and rarely do you get that kind of visual moment that confirms this massive shift in the way that people are going to feel about each other. It doesn’t mean that everyone loved everyone but it meant, I think, that America was no longer going to step backwards. It was going to step forward and these are important moments.” –An interview with Henry Hampton. Conducted by Chris Lydon, 3/31/94

This moment was the genesis of Eyes on the Prize, and when Hampton told the story of Selma, Alabama in episode six, Bridge to Freedom (1965), he and his producers were able to interview many of the key players from that moment, including many participants in the Selma actions including Coretta Scott King, Ralph AbernathyDiane Nash, Amelia Boynton Robinson, James Bevel, Andrew Young, John Lewis, Bayard Rustin, C.T. Vivian, James Forman, Frederick Reese, John DoarRichard Valeriani. Hampton and his producers also interviewed the political figures and law enforcement officers who were responsible for decisions that led to the clash on the bridge, Joseph Smitherman, mayor of Selma, Gov. George Wallace, Jim Clark, Sheriff of Selma. Two women who had participated in the march as children were also interviewed, Rachel Nelson West and Sheyann Webb. Given the number and range of interviews that were conducted for Eyes on the Prize, these primary source documents together give the viewer a multifaceted portrait of one of the most important episodes in the civil rights movement.



Fred Hampton (1948-1969)

5 Dec
Still from documentary, "The Murder of Black Panther Fred Hampton"

Fred Hampton in a still from the documentary, “The Murder of Fred Hampton”

Eyes on the Prize II: A Nation of Law? (1968-1971), one of the episodes from Henry Hampton’s definitive documentary series on the civil rights movement, told the story of the killing of a young, charismatic leader of the Black Panther Party in Chicago, Fred Hampton.

Fred Hampton (no relation to Henry Hampton) was a brilliant, magnetic speaker and organizer who had risen quickly through the ranks of the Black Panther Party leadership to become the chairman of the Illinois chapter of the Black Panther Party, and deputy chairman of the national Black Panther Party. On December 4, 1969, Hampton and Mark Clark, another Black Panther member, were killed in a massive shoot-out led by 14 members of the Chicago police department. Most of the bullets, approx. 100, were shot by the police, while 2 were fired from inside the apartment by the Panthers. Also in the apartment was Hampton’s fiance, Deborah Johnson, who was eight months pregnant at the time. Johnson survived and was later interviewed by Blackside for Eyes on the Prize II.

The episode is partially a portrait of Fred Hampton and uses stock footage from a film about the Black Panthers and Hampton, The Murder of Fred Hampton (full film available here). In addition to Johnson, Blackside conducted an extraordinary interview with someone who had never told his full story publicly before then and who was an informant for the FBI, William O’Neal.

Through O’Neal’s and Johnson’s interview the episode shows how Fred Hampton was spied on and targeted for his political activity.

Deborah Johnson in "Eyes on the Prize II"

Deborah Johnson in “Eyes on the Prize II”

Johnson described the surveillance they were under,

“At the time we were in the Black Panther Party in 1969, we knew that we were being watched, that our phones were tapped, that we were being followed, that we would be, that they would probably look up people that we had went to first grade with to ask them about us. But we really couldn’t focus on that. We, we didn’t let that stop us from what we needed to do. Some of the people that I guess we labeled pseudo liberals–oh, those crazy Black Panthers, they’re imagining it; they’re paranoid. But however, it did come to light that files were kept on people that participated in the movement. And you didn’t have to be a Black Panther. A lot of times we pick up the phone and we hear tape recorder going, and we hear people talking in the background and we didn’t have a party line, and we would be followed.”–Interview with Deborah Johnson

As Johnson noted, in the aftermath of the police raid it came to light that the FBI had assigned an informant to infiltrate the group.

William O'Neal

William O’Neal

In his interview with Blackside, William O’Neal described how he ended up working as an informant.

“My recruitment by the FBI was very efficient, very simple, really. I’d stolen a car and went joy-riding over the state limit, and they had a potential case against me, and I was looking for an opportunity to work it off. And a couple of months later that opportunity came when FBI agent Roy Mitchell asked me to go down to the local office of the Black Panther Party, and try to gain membership  did so and became a member of the Black Panther Party.

And, so when he asked me to join the Black Panther Party, and he used terms, he never used the word informant. He always said, “You’re working for me,” and I associated him as the FBI. So all of a sudden I was working for the FBI…so I felt good about it. I felt like I was working undercover for the FBI doing something good for the finest police organization in America. And so I was pretty proud.”–Interview with William O’Neal

O’Neal was easily able to join the Black Panther Party and became the Security Captain for the Chicago group. He initially thought the Panthers were like a street gang but after meeting Fred Hampton and attending the educational sessions the group ran, he became aware of their political agenda. O’Neal became Hampton’s bodyguard and traveled with him on his speaking engagements. O’Neal described his relationship with Hampton,

We tried to develop negative information to try to, to discredit him just like we did everybody else. We meaning the FBI. I tried to come up with signs of him doing drugs or, or something and never could. He was clean. He was dedicated. I’ve had private conversations with him. we got along pretty well. For seven months I was his personal body guard. He wouldn’t go anywhere without me. I know Fred Hampton better than anybody, to tell you the truth.”–Interview with William O’Neal

He also took part in the daily life of the group, all the while periodically meeting with Mitchell.

“Well, a typical meeting between my FBI contact Mitchell would be downtown Chicago at 11, 12-noon, at, down in the basement of some dark bar. I would meet him at the bar, he’d be there when I got in there, and he’d have a drink, and I’d have a drink, and we’d sit there and, and talk for 15 or 20 minutes, and it was very casual. What he put in his files, I still don’t have the benefit of. But I know after a while, he and I became friends, and we talked in casual conversation about what I was doing in the Black Panther Party. Well, the whole nature of that relationship changed right around November, maybe November 13, when two police officers were killed by a Black Panther member named Jake Winters on the South Side of Chicago.

Well, he started, Mitchell became more specific during that time. He wanted to know the locations of weapons caches, he wanted to know if we had explosives. He needed, he needed to know who was staying at what locations, who spent the night where. His information didn’t change so much as he requested more detail. And, I knew why: the shootout on the South Side had pretty much laid the foundation within the Party, within the Black Panthers, we knew that the police would react in some type of way. We could just feel the stepped up surveillance. We could feel the pressure all the way around, and we knew something bad was going to happen, and I think we were all prepared for it.” Interview with William O’Neal

A Nation of Law? (1968-1971) details how the information O’Neal supplied to the FBI informed the police raid that took place on December 4, 1969. He provided a sketch of the apartment.

Layout of Fred Hampton's apartment provided to the FBI.

Layout of Fred Hampton’s apartment provided to the FBI.

Deborah Johnson described the evening before and how Hampton fell asleep very suddenly. O’Neal had prepared dinner for the group that night and Hampton appeared drugged once the raid began and was unable to move or react, and at least one test conducted by a Cook County chemist found traces of a powerful barbiturate in Hampton’s blood.  O’Neal denied any knowledge of Hampton being drugged.

“First thing that I remember after Fred and I had went to sleep was being awakened by somebody shaking Fred while we were laying in the bed. And, this person who was in the room with me, kept shouting out “we have a pregnant sister in here, stop shooting”. Eventually the shooting stopped and they said we could come out. I remember crossing over Fred, and telling myself over and over, “be real careful, don’t stumble, they’ll try to shoot you, just be real calm, watch how you walk, keep your hands up, don’t reach for anything, don’t even try to close your robe. When I was in the kitchen, I heard a voice, an unfamiliar voice say, “he’s barely alive, he’ll barely make it.” Then the shooting started back again, then I heard the same unfamiliar voice say, “he’s good and dead now.” And I knew in my mind, they were, I assume they were talking about Fred. And I knew when I left out of there, I couldn’t look towards the room.” Interview with Deborah Johnson

O’Neal denied knowledge of what the police and FBI’s plans were.

“I didn’t feel like I had done anything. I didn’t walk in there with guns. I didn’t shoot him. FBI didn’t do it. I felt somewhat like I was betrayed. I felt like if anyone should have known it was going to be a raid that morning, I should have known, also. I felt like I could have been caught in that raid. I was there that night, and I felt like if I’d have laid down I probably would have been a victim, so I felt betrayed, I felt like, I felt like I was expendable. I felt like, like perhaps I was on the wrong side. Yeah, yeah, I had my misgivings. I’m not going to–I, no, I’m not going to sit here now and take the responsibility for the raid, you know, I’m not going to do that. I didn’t pull the trigger. I didn’t issue the warrant. I didn’t put the guns in the apartment. So I’m not going to take the responsibility for that, but I do feel like I was betrayed…I just began to understand basically how serious and deadly the game we’d all been playing for 16 months, the reality of what we were doing, just came to bare on us that morning.”–Interview with William O’Neal

The police claimed to have been shot upon by the Panthers, but they left the apartment open and unguarded for two days. People were able to film and photograph the scene inside which cast doubt on the official’s version. During a civil trail in 1976, O’Neal’s role was revealed in COINTELPRO files. When Blackside asked him again to describe his discovery of the raid, he said,

INTERVIEWER: Once again I want to ask you about your feelings when you learned about the raid, Fred Hampton’s death, or walking through the apartment with Bobby Rush.
WILLIAM O’NEAL: I can’t do it again. I, I just can’t.
WILLIAM O’NEAL: It just, it won’t–
WILLIAM O’NEAL: –it won’t gel.
William O’Neal committed suicide on Martin Luther King Day, 1990.
Fred Hampton’s story was brought back to the national stage in A Nation of Law? (1968-1971) and his impact can still be felt through his own words and speeches.

Through a Lens Darkly: Black Photographers and the Emergence of a People

19 Nov
A photograph by Lyle Ashton Harris as seen in Through a Glass Darkly. [Photo: First Run Features]

A photograph by Lyle Ashton Harris as seen in Through a Glass Darkly. [Photo: First Run Features]

Announcing the premiere of The Henry Hampton Minority Documentarian Series

Washington University Film & Media Archive is excited to announce the premiere of The Henry Hampton Minority Documentarian Series. The series seeks to share documentary films made by minority filmmakers or that depict the stories of often underrepresented groups with a focus on the African-American experience. We aim to screen 4-5 films a year as well as bring in at least two of the filmmakers.

In partnership with Cinema St. Louis and the Department of African and African-American Studies, the series will kick off this Saturday, November 22, 7:30pm at Brown Auditorium with a free screening of Through A Lens Darkly with filmmaker Thomas Allen Harris in attendance. The film explores the role of photography in shaping the identity, aspirations, and social emergence of African-Americans from slavery to the present.

“Inspired by the book “Reflections in Black” (2000), Deborah Willis’s groundbreaking and thorough excavation of a vital and neglected photographic tradition, Mr. Harris’s film is a family memoir, a tribute to unsung artists and a lyrical, at times heartbroken, meditation on imagery and identity. “

A.O. Scott,  New York Times Aug. 26, 2014

Henry Hampton - Photo by Dave Henderson.

Henry Hampton – Photo by Dave Henderson.

Henry Hampton (1940-98) was a St. Louis native and 1961 graduate of Washington University. In 1968, he established his Boston-based company Blackside, Inc., which quickly became the largest African-American-owned film production company of its time. Hampton’s works chronicle the 20th century’s great political and social movements, focusing on the lives of the poor and disenfranchised.

Hampton originally aspired to be a fiction writer but the circumstances of his life and upbringing in the segregated city of St. Louis led him to his great subject: the civil rights movement. Hampton’s involvement in the protests in Selma, Alabama in 1965 created the idea for a film in Hampton’s mind. It would take twenty years to bring that story to the twenty million viewers who saw Eyes on the Prize. The series chronicled the epic struggle of unknown heroes, as well as the leaders of the movement. Hampton interviewed key people who had previously been unknown to historians, and he used innovative documentary film techniques to present the story. Decades after its release, Eyes on the Prize is still considered the definitive work on the civil rights movement. The Boston Globe praised the series as “one of the most distinguished documentary series in the history of broadcasting.” Those sentiments were echoed again when Eyes on the Prize was re-broadcast in the fall of 2006, attracting a new generation of viewers.








John Doar, Civil Rights Attorney, Dies at 92

12 Nov

Interview with John Doar – “Eyes on the Prize”

John Doar, a lawyer who worked as an attorney and as Assistant Attorney General for the Justice Department during the height of the civil rights movement, has died at age 92. Doar, who was interviewed for Henry Hampton’s series, Eyes on the Prize, played a major role in several key episodes of the movement. During Doar’s time at the Department of Justice’s Civil Rights Division from 1960-1967 he was on the ground  investigating civil rights abuses in the South, often in the middle of volatile and potentially violent situations, and bringing suits against people who violated the 1957 Civil Rights Act. In 2012, President Obama awarded Doar with the Presidential Medal of Freedom.

Doar first filed suits over voter intimidation in Tennessee.  In early 1961, he and fellow Department of Justice attorney Bob Owen began investigating voter discrimination in southwest Mississippi with Bob Moses’ help.  While Doar primarily investigated voter intimidation cases, he also accompanied James Meredith as he enrolled in Ole’ Miss in September of 1962.  After arranging for Meredith to be registered despite a confrontation with the governor and riots on the school grounds, Doar stayed with Meredith in his dorm room for several weeks, accompanying him to his classes with federal marshals.

In 1964, Doar was involved in the investigation of the murder of James Chaney, Michael Schwerner and Andrew Goodman during Freedom Summer.  He authorized the F.B.I. to investigate the case, and he was the lead attorney in the federal trial that led to the conviction of several people for violating the civil rights of the three civil rights workers.  Doar also investigated and successfully prosecuted the murder of Viola Luizzo, who was killed while bringing marchers back to Selma from Montgomery.  Doar had been present during the entirety of that march.

One of Doar’s most famous actions occurred after the death of Medgar Evers.  Mourners wanted to march up the main street in Jackson, MS, but they were stopped by police.  When marchers began throwing bottles and bricks and county police were brought in with shot-guns, Doar stepped between the two groups and convinced the marchers to disperse peacefully. He describes this moment vividly in his interview,

Well, I went to the funeral,  because I knew Medgar, and he was a friend, and his friends, people from all over the country came to the funeral… and they wanted to march up the main street in Jackson. And the police officials didn’t want them to do that, they said that they could walk across and then walk into a side street where the black restaurants and the black stores were.

And the police permitted the marchers–the memorial march–to cross the main street, but then finish up in the side street where the black shops were. And so they started back along toward the main street of Jackson and when they got to the corner of this side street that I’ve described, and the main street, the police put up a road block, put up a line of people and said you can’t march on the main street of Jackson, Mississippi. And, so you had a line of police and you had a line of kids, or 3 lines of kids, and they were 2 or 3 feet apart and the kids were singing and agitating, and yelling and shouting and complaining and then, who pushed who first, I can’t tell you but the police started to reach out and grab one, five, six of these kids and throw them in the paddy wagon…And when they got about a block up the street, the county Sheriff’s Office supplemented this line of police with County Deputies and they had guns, shot guns, and I didn’t think that they had the discipline that the City police officers did. And so half a block down the street, a black kid had come out of the crowd and throw [sic] a bottle and it had bounced in front of this line of police and the glass had skidded into them, or a rock had come out or a brick had come out and it had hit, hit the street in front of them and skidded into them and I was just afraid that if this kept on that somebody was really going to get hurt because I didn’t have any confidence in the discipline of those county officers. So I walked through the line of police and walked out and persuaded everybody to stop.

–John Doar from Interview with John Doar (Eyes on the Prize)

After his work in the Justice Department, Doar served as Special Counsel to the House of Representatives, and then worked as a senior partner in a private law firm in New York.

World War I and William Miles

7 Nov

This Monday Webster University will screen Apocalypse: World War I (Parts 1 and 2), “a monumental five-part miniseries produced by France 2 Television which used over 500 hours of archival footage unearthed after exhaustive research in archives, film libraries and private collections around the world.” Later in the week Webster will screen, The Officers’ Ward (La chambre des officiers) and, The African Fighters of the Great War (Les combatants africains de la grande guerre).

Flmmaker William Miles, whose collection is housed at Washington University Film & Media Archive, covered similar subject matter in his groundbreaking film about African-Americans during World War I. Miles’ 1977 documentary, Men of Bronze  is the definitive story of the black American soldiers of the 369th Infantry Regiment, known as the “Harlem Hellfighters,” who, because of segregation in the U.S. Army, fought under the French flag in World War I. The regiment spent more time in the front-line trenches that any other American unit, fighting alongside French, Moroccan, and Senegalese soldiers. The 369th became the most decorated American unit in WWI, and their regimental band under the leadership of James Reese Europe became famous and was often credited with helping introduce jazz to Europe.

The Miles Collection contains many photos, documents, and film elements relating to African-American soldiers from WWI, WWII and later decades. For more information about the collection, contact the Film & Media Archive.

The 369th Infantry Regiment, known as the "Harlem Hellfighters," return home to New York.

The 369th Infantry Regiment, known as the “Harlem Hellfighters,” return home to New York.

A Regular Bouquet: Mississippi Summer [director’s cut]

31 Oct

Director, Cinematographer, Editor: Richard Beymer
Producers: Richard Beymer and Council of Federated Organization Film (COFO). Copyright © 1964 Richard Beymer. All rights reserved.

A Regular Bouquet: Mississippi Summer

Washington University Film & Media Archive is excited to make Richard Beymer’s A Regular Bouquet: Mississippi Summer [director’s cut] available in full to the public. As part of a National Film Preservation Foundation Grant (NFPF) awarded this year to the Film & Media Archive, the original version is currently undergoing preservation.  Once the preservation work is complete the original version will be available for scholars and fans.   Thanks to the generosity of the filmmaker, the director’s cut is currently available to view.

Filmed in 1964 during the Mississippi Summer Project, a campaign to register black voters, provide educational opportunities, and build the movement for integration, Beymer’s film is unique as he was one of the few filmmakers working side-by-side with the activists and volunteers who made up the massive movement that was Freedom Summer.  In 1964, the Council of Federated Organizations (COFO), an umbrella group of civil rights organizations that included SNCC working in Mississippi, issued a call for volunteers, and nearly 1,000 responded. After receiving training, the volunteers, mostly white, northern college students and recent graduates, joined the existing group of predominantly black activists. But it wasn’t just students who heeded to call to come to Mississippi that summer.

After gaining notice in films such as The Diary of Anne Frank (1959), Richard Beymer became a major star after appearing in West Side Story in 1961. He continued to work in Hollywood but was riveted by the news reports coming out of the South and Mississippi during the turbulent years of the early sixties. After being challenged to do something about his convictions by his agent during a cross-country trip to New York, Beymer decided to go to Mississippi during Freedom Summer.

At that time the I.F. Stone Weekly was an independent publication that covered the activities of the Student Nonviolent Coordinating Committee (SNCC). Since SNCC was one of the main organizers of the Mississippi Summer Project Beymer contacted I.F. Stone, the journalist and publisher responsible for the newsletter, and asked on advice on how to get to Mississippi. Stone’s advice, “You get in your car and drive to Mississippi,” while practical did not provide much detail on how to make contacts or find activists. So when Beymer arrived in Mississippi, he asked people in town where the closest SNCC office near Jackson, Mississippi was. When he found the office, he explained his presence by saying, “I want to be part of this.” A SNCC volunteer handed him a broom and said, “Fine. There’s a broom, you can start with that.”

After a few days, Beymer attended an out-of-state orientation and it was during this time that the idea of making a film came to him. He had done a lot of still photography and had wanted to make a film before and proposed the idea to the organizers of a piece that could be shown to volunteers so they would have some idea of what they were getting into. They agreed and Beymer returned to Mississippi armed with a 16mm Bolex camera and a supply of black and white 16mm film.

Group photo of students and volunteers with Richard Beymer at a Freedom School during Freedom Summer, Mississippi, 1964

Group photo of students and volunteers with Richard Beymer at a Freedom School during Freedom Summer, Mississippi, 1964, © Richard Beymer Collection.

During the summer, Beymer worked doing voter registration, canvassed neighborhoods, and in between doing this work filmed the daily lives and activities of the volunteers and the local people and children. He explained that he had his camera with him at all times and,”When I saw something that struck me, I had it there ready to go. I was making a film of my experience, wherever it took me.”

“I had no idea what I was getting into. Until you walk into it, you don’t know all of that.” — Richard Beymer

Speaking of the dangers of doing the work SNCC was engaged, Beymer said, “We were out in the boonies. It was kind of scary and where are you going to go–to the police? Anyone could have been killed at any time.”

Beymer describes the time as both positive and negative. Within the world of the volunteers and the African-American Mississippians, “We ate together, we went to these crummy little bars, we were all together there, it was great.” But he was shocked by the conditions that existed for black Mississippians at that time and that brutal poverty is captured in the film.

In addition to the poverty, the threat of racist violence haunted Freedom Summer from the beginning. On June 21, one week after the first volunteers arrived for training, three activists, James Chaney, Andrew Goodman, and Michael Schwerner, disappeared. The FBI conducted a massive search and found their corpses on August 4. All of the work the volunteers engaged in was done with the threat of something similar happening to them hanging over their heads.

Beymer didn’t develop the film until he returned to Los Angeles at the end of the summer, and then spent the next year editing. The footage Beymer captured has a naturalistic, spontaneous quality that evokes cinema vérité techniques at times. The impact of this footage showing the work of Mississippi volunteers and the local people who had not been given an opportunity to share their stories has carried through till the present day. As a result, other documentary filmmakers frequently seek his footage. Most recently, filmmaker Stanley Nelson relied heavily on A Regular Bouquet when completing his film, Freedom Summer, which premiered in June 2014 on PBS and in Henry Hampton’s seminal documentary series, Eyes on the Prize (1987), episode five, Mississippi: Is This America? (1962-1964).

Participants at an organizational meeting during Freedom Summer, Mississippi, 1964.  © Richard Beymer Collection.

Participants at an organizational meeting during Freedom Summer, Mississippi, 1964. © Richard Beymer Collection.

A Regular Bouquet: Mississippi Summer is part of the Richard Beymer Collection at the Film & Media Archive. In addition to the film elements of A Regular Bouquet: Mississippi Summer, and a collection of black and white photographs that were shot during filming, the collection contains other titles by Beymer including “The Innerview,” “Point of Departure” and “Perfect Movies.” It also includes a taping of part of show 3 of “Midnight Snacks” by Andy Kaufman on which Richard Beymer appeared.

* Note: Quotes for this article are from a telephone interview with Richard Beymer, from August 18, 2014.

RAWSTOCK: Halloween Edition

23 Oct


Join Washington University Libraries for RAWSTOCK: Halloween Edition, a FREE screening of the scariest, creepiest, and most disturbing educational films, burlesque acts, and more!

The Halloween event you don’t want to miss is here. What’s scarier than middle school? Answer: the educational films you were forced to watch in middle school. The line-up includes spooky animation, didactic PSAs, and some rarely seen gems from the Film & Media Archive’s vault.

Friday, October 24, 8pm at Melt, 2712 Cherokee Street

Costumes encouraged!


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