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Will Disney Hire Ava Duvernay Again?

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American film manager

Ava DuVernay
Ava DuVernay in 2017.

DuVernay in 2018
Built-in

Ava Marie DuVernay


(1972-08-24) August 24, 1972 (historic period 49)

Long Embankment, California, U.Southward.
Alma mater University of California, Los Angeles (BA)
Occupation Filmmaker

Notable work
  • Selma
  • 13th
  • A Wrinkle in Fourth dimension
  • When They Run across U.s.a.
Website AvaDuVernay.com

Ava Marie DuVernay (;[1] built-in August 24, 1972) is an American filmmaker. She won the directing accolade in the U.S. dramatic competition at the 2012 Sundance Moving-picture show Festival for her second feature movie Middle of Nowhere,[ii] becoming the first Black woman to win the honour.[3] For her work on Selma (2014), DuVernay became the first Black woman to be nominated for a Golden Globe Honor for All-time Director, and also the first Blackness female director to have her flick nominated for the Academy Accolade for All-time Picture.[iv] [5] In 2017, she was nominated for the Academy Award for All-time Documentary Feature for her film 13th (2016).

DuVernay's 2018 Disney children's fantasy pic A Contraction in Time fabricated her the first Black woman to directly a live-activeness moving-picture show earning $100 million at U.S. box office but had losses of up to $131 meg.[6] [7] [eight] The flick received mixed reviews, with critics taking issue with the motion picture's heavy utilise of CGI.[9] The post-obit year, she created, co-wrote, produced and directed the Netflix drama limited serial When They Encounter Us, based on the 1989 Key Park jogger case, which has earned critical acclaim.[ten] [11] [12] [13] [fourteen] The series was nominated for 16 Emmy Awards including the Primetime Emmy Award for Outstanding Limited Series and won the Critics' Selection Idiot box Award for All-time Express Serial. In 2021, she co-created an autobiographical miniseries with former NFL player Colin Kaepernick titled Colin in Black & White.

In 2017, DuVernay was included on the annual Time 100 list of the nearly influential people in the earth.[15]

In 2020, DuVernay was elected to the University of Move Pictures Arts and Sciences board of governors every bit part of the directors branch.[xvi] [17]

Early life and education [edit]

Ava Marie DuVernay was born on August 24, 1972, in Long Beach, California. She was raised by her female parent, Darlene (née Sexton), an educator, and her stepfather, Murray Maye.[xviii] The surname of her biological father, Joseph Marcel DuVernay III, originates with Louisiana Creole ancestry.[19] She grew up in Lynwood, California. She has four siblings.

During her summer vacations, she would travel to the childhood home of her begetter, which was non far from Selma, Alabama.[twenty] DuVernay said that these summers influenced the making of Selma, every bit her father had witnessed the 1965 Selma to Montgomery marches.[21]

In 1990, DuVernay graduated from Saint Joseph Loftier School in Lakewood.[22] At the University of California, Los Angeles (UCLA), she was a double BA major in English literature and African-American studies. Ava is an honorary member of Alpha Kappa Alpha sorority.[23] [24] [25] [26]

Career [edit]

Despite the acclaim DuVernay has garnered in the film and tv industries, DuVernay did not pick up a photographic camera until age 32.[27] DuVernay's showtime interest was in journalism, a choice influenced by an internship with CBS News. She was assigned to assistance embrace the O.J. Simpson murder trial.[24] DuVernay became disillusioned with journalism, even so, and decided to move into public relations, working every bit a junior publicist at 20th Century Fox, Savoy Pictures, and a few other PR agencies. She opened her own public relations firm, The DuVernay Agency, also known as DVAPR, in 1999.[28]

Through DVAPR she provided marketing and PR services to the amusement and lifestyle manufacture, working on campaigns for movies and television shows, such as Lumumba, Spy Kids, Shrek 2, The Last, Collateral, and Dreamgirls.[23] [24] [26] [29] [30] [31] [32]

Other ventures launched by DuVernay include Urban Beauty Collective, a promotional network that began in 2003 and had more than 10,000 African-American dazzler salons and barbershops in 16 U.S. cities, expanded to 20 in 2008. They were mailed a free monthly Access Hollywood-way promotion program called UBC-Television set,[33] [34] the African-American blog hub Urban Thought Collective in 2008, Urban Eye, a 2-minute long weekday glory and entertainment news show distributed to radio stations,[35] and HelloBeautiful, a digital platform for millennial women of color.[36]

Moving picture [edit]

In 2005, over the Christmas vacation, DuVernay decided to have $6,000 and make her showtime film, a brusk called Saturday Nighttime Life.[26] [37] Based on her mother's experiences,[26] the 12-infinitesimal picture was about an uplifting trip by a struggling single female parent (Melissa De Sousa) and her three kids to a local Los Angeles discount grocery store. The film toured the festival circuit and was broadcast on February 6, 2007, every bit part of Offset's Black Filmmaker Showcase.[ citation needed ]

DuVernay next explored making documentaries, considering they can exist done on a smaller budget than fiction films, and she could learn the trade while doing so.[38] In 2007, she directed the short Compton in C Minor, for which she "challenged herself to capture Compton in only 2 hours and present whatsoever she found." The following year, she made her feature directorial debut with the alternative hip hop documentary This Is the Life, a history of LA's Adept Life Buffet'south arts move, in which she participated equally function of the duo Figures of Speech. This is the Life won audition awards at the ReelWorld Moving picture Festival in Toronto, the Los Angeles Pan-African Pic Festival, the Hollywood Blackness Pic Festival, and the Langston Hughes African American Film Festival in Seattle.[39]

I Volition Follow [edit]

In 2011, DuVernay's get-go narrative feature film, I Will Follow, a drama starring Salli Richardson-Whitfield, was released theatrically. DuVernay's aunt Denise Sexton was the inspiration for the film.[37] In an interview, DuVernay talked about how her real life experiences differed from the film: "I was a caregiver for my aunt, Denise Sexton, in the last year and a half of her life. She was diagnosed with stage four breast cancer. She was a fighter and was active in her treatment to the stop, which was different than the grapheme in the film who wants to fight in a dissimilar way."[39] The film cost DuVernay $50,000 and was fabricated in 14 days.[30] Roger Ebert called it "ane of the best films I've seen nearly coming to terms with the decease of a loved one."[twoscore] [41] I Will Follow was an official selection of AFI Fest, Pan-African Film Festival, Urbanworld and Chicago International Film Festival.

Information technology wasn't until after I Will Follow that DuVernay fully left her job in publicity. DuVernay stated: "I knew that every bit a Blackness woman in this manufacture, I wouldn't accept people knocking down my door to give me money for my projects, so I was happy to make them on the side while working my day job."[27]

Heart of Nowhere [edit]

In the summer of 2011, DuVernay began production on her second narrative characteristic moving picture, Centre of Nowhere, from a script she had written in 2003 but was unable to finance.[37] The motion-picture show drew from her ain experiences growing upwardly in Compton and Inglewood.[42] The story focuses on the wife of an incarcerated man who is serving a 10 year sentence. She drops out of medical schoolhouse in lodge to have more fourth dimension and emotional energy to requite to her incarcerated spouse. The film explores how the family's of the incarcerated are also victims of the organisation and shows how normally this burden of incarceration falls upon women of colour. In an interview with the LA Times, DuVernay touched on her inspiration for the motion picture, "The idea of looking at the victims of incarceration – the mothers, sisters and daughters -- really came out of knowing women who were going through information technology."[42]

The moving picture had its world premiere on January 20 at the 2012 Sundance Moving-picture show Festival, where it played in U.Due south. dramatic competition.[43] It garnered the U.Southward. Directing Accolade: Dramatic for DuVernay. She was the commencement African-American woman to win the prize. DuVernay as well won the 2012 Independent Spirit John Cassavetes Laurels for her work on the film.[44]

DuVernay was commissioned by the Smithsonian'south National Museum of African American History and Culture to create a moving-picture show about African-American history. Her August 28: A 24-hour interval in the Life of a People explores half dozen historical events that happened on the same date, August 28, in dissimilar years. Information technology debuted at the museum's opening on September 24, 2016. The 22-minute moving picture stars Lupita Nyong'o, Don Cheadle, Regina Rex, David Oyelowo, Angela Bassett, Michael Ealy, Gugu Mbatha-Raw, André Holland and Glynn Turman. Events depicted include William Iv's regal assent to the UK Slavery Abolition Act in 1833, the 1955 lynching of 14-year-old Emmett Till in Mississippi, the release of Motown's first number-ane song, "Please Mr. Postman" by The Marvellettes, Rev. Martin Luther King, Jr.'south 1963 I Take a Dream speech, the landfall of Hurricane Katrina in 2005, and the night Senator Barack Obama accustomed the Democratic nomination for president at the 2008 Autonomous National Convention.[45]

Michael T. Martin says, "DuVernay is among the vanguard of a new generation of Blackness filmmakers who are the busily undeterred goad for what may very well be a Black film renaissance in the making."[46] He further speaks of DuVernay's mission and "telephone call to activeness" which constitutes a strategy "to farther and foster the Blackness cinematic epitome in an organized and consequent style, and to not have to defer and inquire permission to traffic our films: to exist self-determining."[46]

The DuVernay test is the racial equivalent of the Bechdel test (for women in movies), as get-go suggested by The Guardian writers Nadia and Leila Latif[47] and then by The New York Times film critic Manohla Dargis in January 2016, asking whether "blacks and other minorities accept fully realized lives rather than serve every bit scenery in white stories."[48] It aims to point out the lack of people of color in Hollywood movies, through a mensurate of their importance to a item flick or the lack of a gratis link to white actors.[49]

Selma [edit]

DuVernay directed Selma, a $20 million budget dramatic film, which is relatively low for a motion-picture show of this caliber,[39] about the Rev. Dr. Martin Luther Rex, Jr., President Lyndon B. Johnson, and the 1965 Selma to Montgomery march for voting rights.[l] The flick, produced by Plan B Entertainment, was released on December 25, 2014 to disquisitional acclaim.[51] DuVernay in an interview at Indiana University stated that Selma would be "the first major feature film in theaters that has annihilation to practise with Rex'due south essential graphic symbol"[39] making it a historical landmark in the history of biopics.

She made uncredited re-writes of most of the original screenplay by Paul Webb in lodge to emphasize King and the people of Selma as central figures.[52] [53] In an October 2020 interview on The Carlos Watson Show, DuVernay claimed that she, not Webb, was the main author, saying that the biggest mistake of her career was allowing Paul Webb "to take credit for writing Selma when I wrote it.[54] In response to criticism by some historians and media sources who accused her of irresponsibly rewriting history to portray her own agenda, DuVernay said that the picture is "non a documentary. I'm non a historian. I'one thousand a storyteller".[55]

The flick was nominated for Best Picture and All-time Original Song, simply not Best Managing director, at the 2014 Academy Awards. The lack of diverseness amidst the Oscar nominations for 2014 was the discipline of much press,[56] especially on Twitter.[57] This movie was the simply one directed by a person of color that was nominated for the 87th Academy Awards. The laurels for All-time Original Song went to "Glory" from Selma.[58] [59] DuVernay said that she had non expected to be nominated as managing director, so the omission did not actually bother her, but she was disappointed that actor David Oyelowo, who portrayed King, was not nominated as Best Actor. She said that the obstacles to people of color beingness represented in the Academy Awards were systemic.[57]

After Selma, DuVernay was approached by executives to direct Curiosity's first picture show about a superhero of color, Black Panther, simply she passed. In an interview with Essence DuVernay provided insight on why she passed on the projection: "I retrieve I'll simply say we had unlike ideas most what the story would be. Marvel has a certain fashion of doing things and I think they're fantastic and a lot of people love what they do. I loved that they reached out to me."[60] She also expressed her support for the project moving forward, "I love the grapheme of Blackness Panther, the nation of Wakanda and all that that could be visually. I wish them well and volition be offset in line to see it."[60]

13th [edit]

In July 2016, the New York Picture Festival made the surprise proclamation that 13th, a documentary directed past DuVernay, would open the festival. Until the announcement no mention of the film had been made past either DuVernay or Netflix, the film's distributor.[61] Centered on race in the United States criminal justice organisation, the film is titled after the Thirteenth Amendment to the U.s. Constitution, which outlawed slavery (except as punishment for a offense). DuVernay's documentary opens with the argument that 25 percentage of the people in the earth who are incarcerated are incarcerated in the U.S., and argues that slavery has been effectively perpetuated in the U.S. through disproportionate mass incarceration of people of color. The picture show features several prominent activists, politicians, and public figures, such as Bryan Stevenson, Angela Davis, Van Jones, Newt Gingrich, Cory Booker, Henry Louis Gates Jr., Michelle Alexander, and others, who talk over such issues equally convict leasing, the war on drugs, and disproportionate arrests, convictions and sentencing of minorities.[62] Information technology was too the starting time critically acclaimed documentary to highlight the tragic story of Kalief Browder.

Information technology was released on Oct seven, 2016 on Netflix.[63] 13th garnered acclaim from film critics and has a 97% rating on Rotten Tomatoes based on 94 reviews. The critical consensus says: "13th strikes at the centre of America'southward tangled racial history, offering observations as incendiary as they are calmly controlled."[64] In a review from Awards Circuit, Angela Davis said "13th is probably the most of import movie yous'll ever encounter."[65] In 2017, the flick was nominated for an Academy Honour for All-time Documentary Characteristic at the 89th Oscars;[66] DuVernay became the first Black woman to be nominated by the university every bit a manager in a feature category.[67] The movie also won a Peabody Award in 2017[68] and a Columbia Journalism School duPont Accolade in 2018.[69]

A Wrinkle in Time [edit]

In 2010, information technology was announced that Disney carried the film rights to Madeleine L'Engle's 1962 novel A Wrinkle in Time [lxx] which follows a young daughter traveling through space and time. Post-obit the success of Tim Burton'south Alice in Wonderland, Disney announced the hiring of Jeff Stockwell to write the screenplay for Cary Granat and his new Boulder Studios. Cary Granat had previously worked with Disney on the Chronicles of Narnia and Span to Terabithia films.[71] On August 5, 2014, Jennifer Lee was announced as the screenwriter, taking over from Stockwell, who had written the first draft.[72] [73] On Feb 8, 2016, it was reported that DuVernay had been offered to directly the movie, and she was confirmed as director after that same month.[74]

A Wrinkle in Time began filming in November 2016. DuVernay is the first woman of color to straight a live-action motion-picture show with a budget of over $100 million, and the second woman to practice and then after Patty Jenkins (who directed Wonder Woman).[75]

The flick was released in March 2018 and brought in $33 one thousand thousand in its opening weekend, second at the box part backside Blackness Panther. [76] Following Disney's Q2 earnings report in May 2018, Yahoo! Finance deduced the film would lose the studio anywhere from $86–186 million.[77] Nonetheless, A Wrinkle in Time still made the listing for the pinnacle 100 grossing movies of 2018,[78] making Ava DuVernay one of four female person directors that made the list that yr.[79]

Upon release, the film received mixed reviews, with critics "taking issue with the motion-picture show'south heavy utilize of CGI and numerous plot holes" while "celebrating its message of female empowerment and diversity."[9]

Tv set [edit]

In 2010, DuVernay directed three Television receiver documentaries. The beginning, 2-hour concert flick TV 1 Night Only: Live from the Essence Music Festival, was a mix of live performances and behind-the-scenes vignettes. It aired August 28, 2010 on TV One and showcases the U.South.'s largest annual African-American entertainment gathering, the Essence Music Festival. In 2010 it was held July two–iv in New Orleans.[80] Two days later, BET premiered its offset original music documentary, My Mic Sounds Squeamish: A Truth Virtually Women and Hip Hop, a 41-infinitesimal long history of female hip hop artists.[81]

On Thanksgiving 2010, Television One showed DuVernay'south 44-minute documentary special Essence Presents: Faith Through the Storm, about two Black sisters who reclaimed their lives later personal destruction during Hurricane Katrina. "It was done for a client, for Essence. They wanted to talk most how religion helped them through, that was very important to them. Then it is interspersed with gospel music, images of Katrina, their home and family."[82]

ESPN commissioned DuVernay to produce and direct Venus Vs., a documentary on Venus Williams's fight for equal prize money. This was to be included in their film series Nine for IX, which aired on July 2, 2013.[83]

DuVernay as well directed the John Fable episode of the performance-and-interview series HelloBeautiful Interludes Alive, which was shown September xiv, 2013 on Tv set I equally the series' broadcast premiere.[36]

She also directed the 8th episode of the tertiary season of the political thriller television serial Scandal. The episode, titled "Vermont is for Lovers, Besides", premiered on November 21, 2013 on ABC.[84]

In 2015, DuVernay executive produced and directed the CBS civil rights crime drama pilot For Justice, starring Anika Noni Rose.[85] It was not picked up for distribution.[60]

That same year, DuVernay appear she would be creating and executive producing the drama series Queen Saccharide, based on Natalie Baszile's novel.[86] [87]

Queen Saccharide premiered September 6, 2016 on Oprah Winfrey Network to disquisitional acclaim and positive reviews.[88] DuVernay wrote 4 episodes and directed two. On August 1, 2016, the series was renewed for a second season alee of its television premiere; it aired in a 2-night premiere on June 20 and June 21, 2017.[89] [xc] The serial was renewed for a third season on July 26, 2017.[91] In August 2018, Ain renewed the series for a fourth season, which premiered on June 12, 2019.[92] [93]

On July six, 2017, information technology was announced that Netflix had given the product When They See United states of america a series order consisting of four episodes. The series was created by DuVernay, who served as executive producer, co-writer, and director. Other executive producers credited, include Jeff Skoll, Jonathan Rex, Oprah Winfrey, Jane Rosenthal and Berry Welsh. Product companies involved with the series consisted of Participant Media, Harpo Films, and Tribeca Productions.[11] The series premiered on Netflix on May 31, 2019. Upon its release, the miniseries received universal disquisitional acclaim.[94] [95] [96] [97] [98] [99] [100] [101] [102]

On June 25, 2019, Netflix announced that the miniseries had been streamed by over 23 million viewers within its first month of release.[103] It received a record number of sixteen nominations for Emmy Awards for writing, directing, and acting for stars and supporting actors.

Advertizing and music videos [edit]

In 2013, DuVernay partnered with Miu Miu every bit part of their Women's Tales film series.[104] Her short film The Door starred actress Gabrielle Union and reunited DuVernay with her Middle of Nowhere star Emayatzy Corinealdi. The motion picture premiered online in February 2013[105] and was presented at the Venice Days sidebar of the 70th Venice International Picture show Festival in August.[106]

Also in Baronial 2013, DuVernay released, through Vimeo,[107] a second branded curt film entitled Say Yep.[108] The film was sponsored past cosmetic brand Mode Fair and starred Kali Militarist and Lance Gross with Julie Nuance, Victoria Mahoney, Lorraine Toussaint and Issa Rae appearing as extras.

In 2015, Apple Music and their ad bureau Translation hired DuVernay to helm a serial of three commercials starring Mary J. Blige, Taraji P. Henson and Kerry Washington. The first ad, Chapter 1, premiered during Fox's Emmy circulate on September twenty, 2015.[109] Affiliate ii and Chapter three debuted in November 2015 and Feb 2016, respectively.[110]

Her music video for the Jay-Z ft. Beyoncé song "Family unit Feud" premiered December 29, 2017 on Tidal.[111]

Film distribution and production [edit]

In 2010 DuVernay founded African-American Film Festival Releasing Motion (AFFRM), her own company to distribute films fabricated by or focusing on Black people. DuVernay refers to AFFRM as "non then much a business, but a call to action."[112] Although she sees edifice strong business organization foundations for films is a priority, DuVernay has said that she stresses that the driving forcefulness of the organization is activism.[46] In 2015 the visitor rebranded itself under the name ARRAY, promising a new focus on women filmmakers too.

DuVernay also owns Forwards Movement, a pic and goggle box production visitor.[46]

Hereafter projects [edit]

In 2013, she announced development on a narrative feature flick entitled Part of the Sky and set up in Compton.[113]

In 2015, it was appear that DuVernay would exist writing, producing, and directing a fictional business relationship which will focus on the "social and ecology" aspects of Hurricane Katrina while including a love story and a murder mystery.[114] David Oyelowo was said to be function of the projection.[115]

In 2018, it was appear that DuVernay would be directing a New Gods movie for the DC Extended Universe.[116] On May 29, 2019, DuVernay announced that she and Tom King would co-write the film.[117] The pic was no longer moving forward past April 2021.[118]

On Oct 29, 2018, it was announced that DuVernay would exist working with the manor of Prince to direct a biopic covering his life for Netflix.[119] All the same, in August 2019, DuVernay quit as director due to "creative differences."[120]

On February xi, 2020, news reports speculated almost Ava DuVernay possibly co-producing and directing a Nipsey Hussle documentary for Netflix.[121]

On June 29, 2020, Netflix appear a six-episode series, created past Ava DuVernay and Colin Kaepernick, titled Colin in Black & White, centering on Kaepernick'due south youth and various events in his life that has led him to be the activist he is today.[122]

In Oct 2020, her next film, Caste, an adaptation of Isabel Wilkerson's book, was officially appear for Netflix.[123]

Other piece of work [edit]

In September 2013, DuVernay started a podcast series called The Call-In, [124] a series of phone conversations recorded past AFFRM of Black filmmakers of feature narrative and documentary work. DuVernay talks about her goals with The Call-In: "For people of color and women filmmakers, so often the questions nosotros get asked are about being a adult female or a person of color. And then The Call-In was a space where we could just talk near craft."[125]

On Oct 27, 2013 DuVernay gave i of the Executive Keynote addresses for Moving picture Independent, a non-profit organization that produces the Pic Independent Spirit Awards and the Los Angeles Film Festival, at their 2013 Picture show Independent Form, a three twenty-four hour period effect. She was one of two keynote speakers along with the Chief Executive Officer of Netflix, Ted Sarandos.[126]

DuVernay, in a keynote address[127] at the 2015 SXSW Pic Festival,[128] [129] shared that she was the 7th person asked to direct Selma [130] and described her feel at the 2015 Oscars, while being an honor to nourish, was just "a room in L.A."[131]

In February 2018 information technology was appear that DuVernay, forth with producer Dan Lin and Los Angeles Mayor Eric Garcetti, had launched the Evolve Entertainment Fund. The fund's mission is to promote inclusion and provide an opportunity for under-served communities to pursue a dream in the amusement manufacture.[132]

Since May 2019, DuVernay has cohosted The Essentials, a weekly film serial on Turner Classic Movies, with Ben Mankiewicz. DuVernay has appeared in wraparounds each Sabbatum night on the channel, discussing a broad range of films, including Marty, Ashes and Embers, Harlan Canton, The states and La Pointe Courte.[133]

Manner and themes [edit]

DuVernay has two master areas of involvement: the starting time, exploring the intricacies of the Black American family unit, specially "Blackness women'south agency and subjectivity"[134] inside the family and inside a racist, patriarchal guild. The 2nd, is exploring the injustices that have afflicted, and accept continued to impact, Blackness families and communities throughout history.

A lot of her filmography works within both of these areas of interest simultaneously. For example, Selma, a picture show virtually an important historical march and a film about Martin Luther King Jr., makes a huge endeavour to center and explore the important female person activists that played a part in the effect: "Selma does afford viewers with a variegated window into the lives of a few of the Black women that participated...Each woman is shown inside the motion-picture show to propel the Selma entrada--sometimes in the background, other times in the foreground, yet always in practically indispensable ways."[135] DuVernay has fabricated it a focus of her activist filmmaking to center Black women in her work.

I of the social issues that DuVernay repeatedly returns to in her work is mass incarceration and the effects of incarceration on African American communities. This is the main topic of her Netflix documentary, 13th, which finds the roots of mass incarceration in the legal end of slavery. The picture moves chronologically through history, keeping "a running total of the rapidly rising incarceration numbers since the 1970s; information technology works to contextualize these rising digits with a grand narrative that weaves together the racist, political, and financial motivations that paved the nation's style to mass incarceration."[136] DuVernay's boob tube piece of work addresses this likewise: When They See Us depicts the ways in which the U.S. justice system targets Black people and other people of color, and in her evidence Queen Sugar i of the primary characters "is a convicted felon whose prison past makes information technology difficult for him to observe a job and puts an ongoing strain on his human relationship with his family."[137] This is an outcome that DuVernay returns to again and again in her work.

Heart of Nowhere, encapsulates both of DuVernay's areas of interest: information technology puts a Black adult female at the center of its narrative and depicts the means in which incarceration affects her life and the life of her family. This fictional story shows the ways in which incarceration infiltrates the lives of even those who are not in prison house through close association with someone who is incarcerated. This issue is particularly relevant to Black women equally a vast bulk of America's prisoners are Blackness and male person: "burdens of carceral intendance autumn most heavily on those intimately tied to the incarcerated as partners, spouses, parents, and children--demographics that are oftentimes marginalized."[138]

The cinematography and staging of the film emphasizes the protagonist, Ruby'due south, own entrapment via association to incarceration. Carmine puts her life on hold to provide emotional, legal, and financial support for her incarcerated husband, Derek. In Marquita Smith'southward analysis of the film, she explains that "carceral logic dictates that those who want to maintain contact with incarcerated spouses...must endure an frequently invisible form of punishment...which criminalizes caring for the incarcerated."[138] When Cherry visits Derek, the camera takes special notice of the ways in which her own freedoms and bodily autonomy are restricted within the prison: "the photographic camera follows the various examination acts, lingering on Ruby'south body parts every bit they are inspected."[138] Lastly, at that place is a visual parallel drawn between the women who are visiting and the inmates. The women are often shown in lines and shot from behind fences and bars. They are herded into the visitation room in a way that parallels the male prisoners. DuVernay frames Ruby in a larger context of incarceration and its peripheral effects by showing her among a community of women whose situations parallel Ruby's. Nosotros see Ruby riding the jitney to the prison with many other women, most of whom are Blackness, waiting in line with these women, and eventually being shuffled into the coming together area with these women. In the scene where Carmine visits Derek on their anniversary after hearing that he is up for parole, the camera pans over many other couples who sit down in the visiting room with them- "by panning to show the diverse families in the visitation room earlier focusing on the protagonist, the film enables viewers to meet across Ruby'southward individual happiness and recognize the importance of intimacy for the collective."[138]

Filmography [edit]

Film [edit]

Year Title Director Author Producer Ref.
2010 I Volition Follow Yep. Yes Yep [139]
2012 Middle of Nowhere Yes Yes Yes [140]
2014 Selma Yes No No [141]
2018 A Contraction in Fourth dimension Yes No No [142]

Executive producer

  • The White Tiger [143] (2021)

Short films

Yr Title Director Writer Producer Ref.
2006 Sabbatum Night Life Yes Yeah No
2013 The Door Yes Yes Aye
Say Yep Yes Yes No [144]

Documentary films [edit]

Twelvemonth Title Director Author Producer Notes
2007 Compton in C Minor Yes No Yeah Short
2008 This is the Life Aye Yeah Yes
2016 August 28: A Solar day in the Life of a People Aye Yeah Yes Brusque
13th Yes Aye Yes

Goggle box [edit]

Yr Title Director Writer Executive
Producer 		Creator Notes
2013 Scandal Yep No No No Episode "Vermont is for Lovers, Too"
2015 For Justice Yes No Yes No Unaired TV pilot
2016–present Queen Sugar Yes Yeah Yes Yes Author (4 episodes), Director (2 episodes)
2019 When They Run into U.s. Yes Aye Yes Yep Director (4 episodes)
The Red Line No No Yes No
2020–present Cherish the Day No Yeah Yes Aye
2021 Colin in Black & White Yes Aye Aye Yep Director (i episode), Story by (1 episode)
Home Sweet Habitation No No Aye Yes
2022–present Naomi No Yep Yes Yeah
2022 DMZ Aye No Yes No

Documentary series

Year Title Managing director Author Producer
2010 Television receiver One Night Merely: Alive from the Essence Music Festival Yes Yep No
My Mic Sounds Overnice: A Truth About Women and Hip Hop Yes No executive
Essence Presents: Organized religion Through the Storm Yeah Yes Yes
2013 Venus Vs. Yep Yep No
HelloBeautiful Interludes Live: John Legend Yes No No

Commercials [edit]

Year Title Director Author Producer Notes
2015–2016 Affiliate 1, Chapter 2, Chapter three Yes No No Apple Music

Music video [edit]

Year Title Director Writer Producer Notes
2017 Family Feud Yep Yes Yes Music video for Jay-Z ft. Beyoncé

Awards, nominations, honors [edit]

  • In 2012, Variety featured DuVernay in its Women'due south Impact Report.
  • In June 2013, she was invited to both the manager'southward and author's branches of AMPAS.[145] DuVernay was but the second Black woman, following Kasi Lemmons, to be invited to the managing director's branch.
  • DuVernay became the inaugural recipient of the Tribeca Movie Establish'south Heineken Affinity Award, receiving a $20,000 prize and industry back up for future projects. DuVernay donated all the money to AFFRM, the Blackness arthouse film commonage she founded.[146]
  • In June 2015, Duvernay was honored as part of Women in Film Crystal + Lucy Awards with the Dorothy Arzner Directors Award.[147]
  • In April 2015 DuVernay was chosen as 1 of Mattel's "Sheros" of 2015. A custom-made ane-of-a-kind Barbie in DuVernay's likeness was produced. The doll was auctioned off with the proceeds given to charity.[148] Due to high demand, a collectible version of the doll was produced and sold in December of that yr.[149]
  • In 2016, DuVernay was named to Oprah Winfrey's SuperSoul 100 listing of visionaries and influential leaders[150]
  • In 2017, DuVernay became the first Black woman nominated for an University Award for All-time Documentary Characteristic, for her film 13th.[151] [152]
  • In 2017, DuVernay was the recipient of Smithsonian Magazine's American Ingenuity Laurels for Visual Arts.[153]
  • In 2018, DuVernay won Entertainer of the Year at the 49th NAACP Image Awards for her piece of work in 2017.[154]
  • PETA alleged DuVernay and actor Benedict Cumberbatch to exist the Most Cute Vegan Celebs of 2018.[155]
  • In 2020, DuVernay was awarded the Dorothy and Lillian Gish Prize.[156]
  • In 2021, DuVernay was given the Award for Cinematic Production of the Royal Photographic Social club
Yr Laurels Category Piece of work Result
2011 African-American Film Critics Best Screenplay I Will Follow Won
2012 Black Reel Awards All-time Screenplay Nominated
All-time Managing director Nominated
NAACP Epitome Awards Outstanding Contained Movement Picture Nominated
Sundance Film Festival Directing Honor Middle of Nowhere Won
Grand Jury Prize Nominated
Film Independent Spirit Awards Independent Spirit John Cassavetes Award Won
Humanitas Prize Sundance Moving picture Nominated
African-American Film Critics Best Contained Film Won
Best Screenplay Won
Best Picture Nominated
Alliance of Women Moving-picture show Journalists Best Adult female Screenwriter Nominated
Women Moving-picture show Critics Circumvolve Josephine Bakery Award Won
2013 Blackness Reel Awards All-time Director Won
Best Screenplay Won
Best Film Nominated
Gotham Awards All-time Feature Nominated
2014 Online Film Critics Society Award Best Director Selma Nominated
Black Flick Critics Circumvolve Best Director Won[157]
Central Ohio Pic Critics Association Best Director Won
Breakthrough Moving-picture show Artist Won
Dallas-Fort Worth Film Critics Association Accolade Best Director Nominated
Georgia Film Critics Association Best Director Nominated
Breakthrough Honour Nominated
Aureate Globe Award Best Managing director Nominated
Brotherhood of Women Moving picture Journalists All-time Director Nominated
All-time Adult female Director Won
Female Icon of the Year Won
Critics' Choice Movie Awards Best Director Nominated
Satellite Awards All-time Director Nominated
Flick Independent Spirit Awards All-time Director Nominated
African-American Film Critics Association All-time Managing director Won
Blackness Reel Awards Black Reel Award for Best Director Won
NAACP Prototype Honor Outstanding Director Nominated
Online Movie Critics Gild Best Director Nominated
Washington D.C. Area Film Critics Clan Awards Best Director Nominated
2016 Grammy Awards All-time Compilation Soundtrack for Visual Media Nominated
Alliance of Women Film Journalists Best Woman Director 13th Won
Outstanding Achievement by a Woman in the Film Manufacture Won
Black Reel Awards All-time Picture Nominated
All-time Feature Documentary Won
Critics' Selection Documentary Awards Best Manager (TV/Streaming) Won
Women Moving-picture show Critics Circle Best Woman Storyteller (Screenwriting Honour) Won
Courage in Filmmaking Won
2017 University Accolade Best Documentary Feature Nominated
Primetime Emmy Laurels Outstanding Documentary or Nonfiction Special Won
Outstanding Directing for Nonfiction Programming Nominated
Outstanding Writing for Nonfiction Programming Won
2018 BET Awards Video Director of the Year "Family Feud" Won[158]
2019 TCA Awards Program of the Year When They See Us Nominated
Outstanding Achievement in Movies, Miniseries and Specials Nominated
Primetime Emmy Awards Outstanding Express Series Nominated
Outstanding Directing for a Express Series, Movie, or Dramatic Special Nominated
Outstanding Writing for a Limited Series, Movie, or Dramatic Special Nominated
2020 Directors Society of America Honour Outstanding Directing – Miniseries or Telly Film Nominated
Producers Guild of America Honour Best Limited Serial Telly Nominated

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Farther reading [edit]

  • Martin, Michael T. "Conversations with Ava DuVernay—'A Phone call to Action': Organizing Principles of an Activist Cinematic Practice." Black Photographic camera half dozen, no. 1 (2014): 57–91. doi:x.2979/blackcamera.6.1.57.
  • Smith, Marquita R. ""Don't Be a Martyr": Kinship, Intimacy, and Carceral Care in Ava DuVernay'southward Middle of Nowhere", The Black Scholar, 48:1, 6-xix, doi:10.1080/00064246.2018.1402252.
  • Butler, Bethonie. Ava DuVernay's Netflix Film '13th' Reveals how Mass Incarceration is an Extension of Slavery: Mass Incarceration has Long a Focus of the Acclaimed Director. Washington: WP Visitor LLC d/b/a The Washington Mail service, 2016. ProQuest 1826393634.
  • Holmes, David G. "Close-Up: Ava DuVernay's Selma (2014): Seen and Heard: Negotiating the Blackness Female Ethos in Selma." Black Photographic camera ten, no. 2 (Spring, 2019): 184-194. doi:ten.2979/blackcamera.10.two.14. ProQuest 2444521388
  • Aseltine, Elyshia. "The Perniciousness of Prisons: Documenting the Bug of Mass Incarceration." American Anthropologist, Vol. 120, Result iii, 2018. doi:10.1111/aman.13089

External links [edit]

  • Official website
  • Ava DuVernay on Twitter Edit this at Wikidata
  • Ava DuVernay at IMDb
  • Ava DuVernay on Instagram
  • Ava DuVernay at Makers: Women Who Make America
  • Ava DuVernay's ARRAY distribution commonage

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Source: https://en.wikipedia.org/wiki/Ava_DuVernay

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