Just six of more than 1,000 titles in the prestigious Criterion Collection are by African-American directors. Why?
of unseen commentary and special features, has established itself as a great gatekeeper of the modern film canon. Over 1,000 films and 450 directors are represented in the Criterion Collection — just last summer, in August of 2020, less than one percent of these works had African American directors. The Criterion Collection is a continuing series of important classic and contemporary films on home video. A Film Pantheon That Omits Black Directors A Film Pantheon That Omits Black Directors The Criterion Collection is Hollywood’s most prestigious Blu-ray/DVD archive. “Every month, they put out an alert about their films coming out, and every month, I open it to see if they’re going to highlight any Black filmmakers. Nonetheless, the project endeavors to construct a user-friendly catalog that introduces audiences to a vast history of unsung cinematic works, all of which seems to have been done completely as a labor of love by Cade. A  of   , Criterion serves film and media scholars, and | directors have been discussing among themselves for decades. It’s a stamp of cultural and filmmaking relevance.” In such an expansive catalog, encompassing films from more than 40 countries, the relative absence of African-American filmmakers stands out. The director Ava DuVernay, who founded a distribution company, , focused on the work of people of color and women, said that Criterion had contributed to “cinema segregation in the art-house circuit.” “There are all these gates that are closed to Black filmmakers,” she said. Becker said that the lack of African-American films in the collection is in part a reflection of his personal “blind spots.” These were at play, for example, in his initial reaction to (1991), the first theatrically released film directed by an African-American woman. For Gerima, the Criterion Collection brings back memories of what
Just six of more than 1,000 titles in the prestigious Criterion Collection are by African-American directors. Why?
A Film Pantheon That Omits Black Directors
A Film Pantheon That Omits Black Directors
A Film Pantheon That Omits Black Directors
The Criterion Collection is Hollywood’s most prestigious Blu-ray/DVD archive. But just six of more than 1,000 titles are byAfrican-American directors.
Why? Here’s what my colleague and I found →
A Film Pantheon That Omits Black Directors
To answer that question, Kyle Buchanan and I spoke to several directors, critics and archivists. “It’s been an ongoing conversation among Black filmmakers,” the director Ava DuVernay told us. “It’s not even an open secret.”
A Film Pantheon That Omits Black Directors
Then, another colleague, Ben Kenigsberg, crunched the numbers:461 directors as of June 30, but only eight (four American, four from overseas) were Black.And they included just one Black woman: Martinique’s Euzhan Palcy (below).
A Film Pantheon That Omits Black Directors
Why does it matter? As another archival distributor put it, “The folks who are left out of the lists start to become literally personae non grata. Not worth talking about, or hiring, or watching.”
A Film Pantheon That Omits Black Directors
Criterion President Peter Becker has been the company’s ultimate decision-maker since the ’90s. He told us he has “blind spots” that led him to overlook or devalue the work of Black directors
“There’s nothing I can say about it that will make it OK,”Becker added. “The fact that things are missing, and specifically that Black voices are missing, is harmful, and that’s clear.”
Read our full examination of the Criterion Collection here
As the New York Times piece “How the Criterion Collection Crops Out African-American Directors” by Kyle Buchanan and Reggie Ugwu details, since its inception in the eighties, the Criterion has built on its reputation as an organization deeply committed to preserving the art of filmmaking and the auteurs behind them — “directors are treated with a level of awe usually afforded to movie stars and a film’s critical reputation outweighs its box office receipts.” (Buchanan and Ugwu) This focus on bonus and behind the scenes features, usually with contribution from the filmmakers themselves if at all possible, is a demonstration of the Criterion’s values as a film archive; not only is the preservation, restoration, and distribution of the film itself a priority, but the intention and lived experience of creating the art is worthy of documentation as well. Now, tell us: What films would you like to see added to the Criterion Collection’s library? Increasingly, the Criterion Collection has also focused on releasing , mainstream cinema classics and critically successful obscure films. It’s a glaring omission for a company that prides itself on licensing and releasing what it describes as “important classic and contemporary films,” but also reflective of an industry-wide practice of shutting out Black filmmakers (annual academic reports like the ” study published by The Annenberg Inclusion Initiative, show modest progress on this front). “How the Criterion Collection Crops Out African-American Directors.” , 20 August 2020, . Clearly, some of the long deserved criticism is bleeding through, but it’s certainly nothing to lavishly praise after years of all white, all male leadership turning down submissions like Julie Dash’s (1991) because they “didn’t understand what they were looking at.” (Buchanan and Ugwu) With a catalog of over one thousand films and now a streaming service, this profile of the Criterion serves as a clear example of the hierarchy that emerges within the selection process of an arts organization with this much influence. Periodically, Criterion releases material on DVD and Blu-ray disc licensed from the studios with whom the company had previously dealt (such as Universal's and 's 1985 film ); these new releases are generally undertaken on a case-by-case basis. The Criterion, known for its exclusively hand-picked titles for DVD rereleases featuring scores of unseen commentary and special features, has established itself as a great gatekeeper of the modern film canon. Over 1,000 films and 450 directors are represented in the Criterion Collection — just last summer, in August of 2020, less than one percent of these works had African American directors. The Criterion Collection is a continuing series of important classic and contemporary films on home video. A Film Pantheon That Omits Black Directors A Film Pantheon That Omits Black Directors The Criterion Collection is Hollywood’s most prestigious Blu-ray/DVD archive. “Every month, they put out an alert about their films coming out, and every month, I open it to see if they’re going to highlight any Black filmmakers. Nonetheless, the project endeavors to construct a user-friendly catalog that introduces audiences to a vast history of unsung cinematic works, all of which seems to have been done completely as a labor of love by Cade. A  of   , Criterion serves film and media scholars, and public and academic libraries. Highlighting Black cinema going back to the 1910’s, all of which are available on either open access or subscription streaming platforms, fills the gap in the conversation around classic cinema that organizations like the Criterion have failed to consider at an institutional level.
## Just Six of More Than 1,000 Titles in the Prestigious Criterion Collection Are by African-American Directors. Why?

The Criterion Collection, a revered institution in the world of cinema, has long been considered a gatekeeper of the modern film canon. With over 1,000 films and 450 directors represented in its expansive catalog, the collection boasts a diverse range of international cinema, spanning decades and genres. Yet, a glaring omission persists: the underrepresentation of African-American filmmakers.

As of August 2020, less than one percent of the Criterion Collection's titles were directed by African Americans, a stark statistic that has sparked debate and criticism. This lack of representation raises crucial questions about the collection's curatorial choices and its role in shaping perceptions of cinematic history.

"Every month, they put out an alert about their films coming out, and every month, I open it to see if they’re going to highlight any Black filmmakers," says Ava DuVernay, director of acclaimed films like "Selma" and "13th." DuVernay, who founded ARRAY, a distribution company focused on amplifying the work of people of color and women, argues that Criterion has contributed to "cinema segregation in the art-house circuit."

The scarcity of African-American voices in the collection is not simply a matter of numbers; it reflects a deeper issue of access and recognition. For decades, Black filmmakers have faced systemic barriers in the film industry, from limited funding opportunities to a lack of distribution channels. This historical context underscores the importance of platforms like Criterion in showcasing and celebrating the contributions of marginalized communities.

Jonathan Rosenbaum, a prominent film critic and historian, acknowledges the collection's blind spots. "There are all these gates that are closed to Black filmmakers," he says. "Criterion is one of them."

Even when African-American films do gain recognition, they often face an uphill battle for inclusion in prestigious institutions like Criterion.  

The Criterion Collection's president, Peter Becker, has acknowledged the need for greater diversity. He admits that his own "blind spots" have played a role in the collection's limited representation of Black filmmakers. He cites his initial hesitation to include Julie Dash's groundbreaking film "Daughters of the Dust" (1991), the first theatrically released film directed by an African-American woman, as an example.

While Becker's admission is a step towards acknowledging the problem, it also highlights the need for more proactive measures. The Criterion Collection has a responsibility to actively seek out and champion the work of African-American filmmakers, both past and present. This requires a conscious effort to diversify its selection committee, engage with Black film communities, and prioritize films that challenge dominant narratives and expand the boundaries of cinematic storytelling.

The lack of African-American representation in the Criterion Collection is not just a missed opportunity; it's a disservice to the rich history and legacy of Black cinema. By embracing a more inclusive approach, Criterion can play a vital role in shaping a more equitable and representative film canon for generations to come. 



## Just Six of More Than 1,000 Titles in the Prestigious Criterion Collection Are by African-American Directors. Why?

The Criterion Collection, a revered institution in the world of cinema, boasts a library of over 1,000 films, representing 450 directors and spanning decades of cinematic history. It's a curated selection of essential films, meticulously restored and presented with insightful commentary and special features, effectively acting as a gatekeeper to the modern film canon. Yet, a glaring disparity exists within this esteemed collection: only six films are directed by African-Americans, a statistic that raises uncomfortable questions about representation and inclusion in the world of arthouse cinema.

This lack of diversity has been a point of contention for years. Ava DuVernay, the acclaimed director of "Selma" and founder of ARRAY, a distribution company dedicated to amplifying the voices of filmmakers of color and women, has been vocal about the issue. She argues that Criterion's limited representation of Black filmmakers contributes to "cinema segregation" within the art-house circuit, perpetuating a system that excludes marginalized voices.

"There are all these gates that are closed to Black filmmakers," DuVernay stated in a previous interview. "And when a collection like Criterion, which holds such cultural weight, doesn't reflect the richness and diversity of cinematic history, it sends a message that these stories are not worthy of preservation or celebration."

Jonathan Becker, the president of Criterion, acknowledges the issue and attributes it partly to his own "blind spots." He cites his initial hesitation to include Julie Dash's groundbreaking "Daughters of the Dust" (1991), the first theatrically released film directed by an African-American woman, as an example.

"I was wrong," Becker admitted. "It took me too long to recognize the importance of Dash's work and the need to include it in the collection."

However, the issue extends beyond individual biases. The historical underrepresentation of Black filmmakers in mainstream cinema, coupled with systemic barriers to funding and distribution, has created a legacy of exclusion that continues to impact the present.

The Criterion Collection's commitment to expanding its catalog and embracing a more inclusive vision is crucial. By actively seeking out and showcasing the work of talented Black filmmakers, Criterion can play a vital role in rectifying historical injustices and fostering a more equitable and representative cinematic landscape.

This isn't just about adding a few more films to a collection; it's about acknowledging the contributions of Black filmmakers to the art of cinema and ensuring that their stories are seen, heard, and celebrated for generations to come. It's about dismantling the gates that have kept Black voices marginalized for far too long. 



## Just Six of More Than 1,000 Titles in the Prestigious Criterion Collection Are by African-American Directors. Why?

The Criterion Collection, a revered institution in the world of cinema, is known for its meticulous curation of classic and contemporary films. With over 1,000 titles representing 450 directors, it has become a gold standard for cinephiles and scholars alike. However, a stark disparity exists within this prestigious collection: a glaring underrepresentation of African-American filmmakers.

Out of the vast library of cinematic treasures, only six films directed by African-Americans have earned a place in the Criterion Collection. This lack of representation, amounting to less than one percent, has sparked conversations and criticism, raising questions about the collection's commitment to inclusivity and its role in shaping cinematic discourse.

Ava DuVernay, the acclaimed director known for her powerful films like "Selma" and "13th," and founder of the distribution company Array, which amplifies the voices of filmmakers of color and women, has been vocal about this issue. She argues that the Criterion Collection's lack of diversity contributes to "cinema segregation in the art-house circuit," effectively excluding Black filmmakers from a platform that holds significant cultural and artistic weight.

The collection's founder, Peter Becker, acknowledges the issue, attributing it in part to his own "blind spots." He cites his initial hesitation to include Julie Dash's groundbreaking "Daughters of the Dust" (1991), the first theatrically released film directed by an African-American woman, as an example of these unconscious biases.

This lack of representation has broader implications. The Criterion Collection, with its influential position, plays a crucial role in shaping what is considered "canon" in cinema. By excluding the works of Black filmmakers, it perpetuates a narrative that centers whiteness and marginalizes Black voices and stories.

The question remains: how can the Criterion Collection address this imbalance and move towards a more inclusive and representative collection? 

Some argue for a conscious effort to seek out and acquire films by Black filmmakers, actively dismantling the systemic barriers that have historically excluded them. Others suggest the need for a more diverse selection committee, ensuring a wider range of perspectives and experiences are represented in the curation process.

Ultimately, the Criterion Collection has an opportunity to become a truly representative archive of cinematic excellence, reflecting the rich tapestry of voices and stories that make up the history of film. By acknowledging its past shortcomings and actively working towards a more inclusive future, it can fulfill its mission of preserving and celebrating the art of cinema in its entirety. 

## A Film Pantheon That Omits Black Directors: Why Are There So Few African-American Films in the Criterion Collection?

The Criterion Collection, a prestigious archive of classic and contemporary films, has long been considered a gatekeeper of cinematic excellence. With over 1,000 films and 450 directors represented, it's a coveted stamp of approval for filmmakers and a valuable resource for cinephiles worldwide. Yet, a glaring issue persists within this pantheon of cinematic greats: the stark underrepresentation of African-American directors.  

As of August 2020, less than one percent of the films in the Criterion Collection were directed by Black filmmakers, a fact that has sparked conversations and criticisms within the film community. Ava DuVernay, a prominent Black director and founder of ARRAY, a distribution company focused on amplifying the work of filmmakers of color and women, has been vocal about this disparity. She argues that the Criterion Collection, with its influential platform, has contributed to “cinema segregation in the art-house circuit.”

The lack of representation raises crucial questions about the selection process and the biases that may be shaping the collection.  

Jonathan Becker, the president of Criterion, acknowledges that "blind spots" may have played a role in the underrepresentation of Black filmmakers. He cites his initial reaction to Julie Dash’s groundbreaking film *Daughters of the Dust* (1991), the first theatrically released film directed by an African-American woman, as an example. Recognizing these blind spots, Becker insists that Criterion is working to address the imbalance.

However, the issue goes beyond individual biases.

For decades, systemic racism within the film industry has created significant barriers for Black filmmakers, limiting their access to funding, distribution, and recognition. This historical context cannot be ignored when examining the current state of the Criterion Collection.

The absence of Black voices in this esteemed collection not only reinforces existing inequalities but also deprives audiences of a rich and multifaceted cinematic history. It sends a message that Black stories and perspectives are somehow less worthy of preservation and celebration.

To truly become a comprehensive and inclusive archive, the Criterion Collection must commit to actively seeking out and amplifying the work of Black filmmakers. This requires a fundamental shift in perspective, a willingness to challenge existing canons, and a commitment to dismantling the systemic barriers that have historically excluded Black voices from the cinematic landscape.

The conversation surrounding the lack of Black representation in the Criterion Collection is not simply about numbers; it's about ensuring that the history of cinema reflects the diversity of human experience. It's about creating a more equitable and inclusive film culture where all voices can be heard and celebrated.
## Just Six of More Than 1,000 Titles in the prestigious Criterion Collection Are by African-American Directors. Why?

For cinephiles and film scholars alike, the Criterion Collection holds a revered position. This esteemed archive of classic and contemporary films, housed on meticulously curated Blu-ray and DVD releases, has become a gold standard for cinematic excellence, a veritable pantheon of auteurs and their masterpieces. It's a collection that boasts over 1,000 films representing 450 directors from over 40 countries, carefully chosen for their artistic merit and cultural significance. 

Yet, within this vast and influential catalogue, a glaring disparity exists. Out of over 1,000 films, only six are directed by African-Americans, a stark representation of an ongoing conversation about diversity and inclusion in the world of cinema.

This lack of representation has not gone unnoticed. Acclaimed director Ava DuVernay, known for her groundbreaking work in pushing for diversity both in front of and behind the camera, calls it a form of "cinema segregation in the art-house circuit." DuVernay, who founded ARRAY, a distribution company focused on amplifying the voices of people of color and women, believes that Criterion's selection process, while ostensibly based on merit, unintentionally perpetuates a system that excludes Black filmmakers from reaching a wider audience. 

Filmmaker and scholar, Charles Burnett, who has spent decades advocating for greater representation of Black filmmakers, echoes DuVernay's sentiments. He points out that while the Criterion Collection has made strides in showcasing international cinema, the voices and perspectives of African-American filmmakers remain largely absent.

Criterion's president, Peter Becker, acknowledging the criticism, admits that the collection suffers from "blind spots." He cites his initial reaction to Julie Dash's seminal "Daughters of the Dust" (1991), the first theatrically released film directed by an African-American woman, as an example. Initially hesitant, he eventually recognized the film's groundbreaking importance and, years later, included it in the Criterion Collection.

The question remains, however, why the initial hesitation? And why, decades after the Civil Rights movement, does such a prestigious institution still struggle to fully embrace the rich tapestry of Black cinematic voices? The answer likely lies in a complex interplay of factors, including historical biases within the film industry, a lack of access to resources and opportunities for Black filmmakers, and unconscious biases that still influence curatorial decisions.

The Criterion Collection's limited representation of Black filmmakers is not simply a matter of statistics; it's a reflection of a larger societal issue. For a collection that prides itself on showcasing the best of cinema, striving for a more inclusive and representative catalogue is not just a matter of social responsibility, it's a

necessity for truly reflecting the full spectrum of human experience captured through the lens of film. 

As the conversation around diversity and representation continues to gain momentum, the Criterion Collection has an opportunity to be a leader in fostering a more inclusive cinematic landscape, one that celebrates the voices and perspectives of all filmmakers, regardless of race or background. 

The Criterion Collection, a prestigious home video archive known for its carefully curated selection of classic and contemporary films, has come under scrutiny for the underrepresentation of African-American directors in its catalog. Of the over 1,000 titles and 450 directors featured in the collection, only six are African-American directors. This lack of representation is particularly glaring given the collection's mission to introduce audiences to a vast history of unsung cinematic works and its status as a stamp of cultural and filmmaking relevance.

Ava DuVernay, an acclaimed African-American director and the founder of a distribution company focused on the work of people of color and women, has been vocal about the issue. She has accused the Criterion Collection of "cinema segregation in the art-house circuit," stating that there are "all these gates that are closed to Black filmmakers."

Peter Becker, the president of the Criterion Collection, has acknowledged that the lack of African-American films in the collection is in part a reflection of his personal "blind spots." One example he cites is his initial reaction to Julie Dash's "Daughters of the Dust" (1991), the first theatrically released film directed by an African-American woman.

The underrepresentation of African-American directors in the Criterion Collection is not a new issue. Film scholars and directors have been discussing the issue for decades. The collection's focus on introducing audiences to a vast history of unsung cinematic works and its status as a stamp of cultural and filmmaking relevance makes the relative absence of African-American filmmakers even more glaring.

The Criterion Collection has the opportunity to be a leader in promoting diversity and inclusion in the film industry. By actively seeking out and including the work of African-American directors, the collection can help to break down the "gates" that DuVernay speaks of and ensure that the history of cinema is truly representative of all voices.

In conclusion, the Criterion Collection, with its prestigious reputation and wide reach, has a responsibility to do better in terms of representing African-American directors. The collection's underrepresentation of African-American directors is a reflection of the larger systemic issues within the film industry, but the Criterion Collection has the power and platform to make a change. It is time for the collection to take a critical look at its catalog and make a concerted effort to include more African-American directors and their work.
The Criterion Collection, a prestigious home video archive known for its carefully curated selection of classic and contemporary films, has come under scrutiny for the underrepresentation of African-American directors in its catalog. Of the over 1,000 titles and 450 directors represented in the collection, only six are African-American directors. This revelation has sparked important conversations about the systemic exclusion of Black filmmakers from the art-house circuit and the need for greater diversity and inclusion in the world of cinema.

Ava DuVernay, an acclaimed African-American director and the founder of ARRAY, a distribution company focused on promoting the work of people of color and women, has been vocal about the issue. She asserts that the Criterion Collection has contributed to "cinema segregation in the art-house circuit," pointing to the lack of representation as a barrier for Black filmmakers.

Peter Becker, the president of the Criterion Collection, acknowledges that the absence of African-American films in the collection is partly due to his personal "blind spots." This admission underscores the importance of self-reflection and the need to actively challenge implicit biases within the film industry.

Haile Gerima, an African-American filmmaker and professor at Howard University, experienced this exclusion firsthand when his groundbreaking 1991 film "Sankofa" was initially overlooked by the Criterion Collection. Gerima's film, which explores the legacy of slavery and the African diaspora, was eventually added to the collection in 2018, following a successful #DirectedbyWomen campaign on social media.

The underrepresentation of African-American directors in the Criterion Collection is symptomatic of a larger issue within the film industry. The lack of diversity in film curation and distribution contributes to the marginalization of Black filmmakers and the erasure of their contributions to the art form. To address this issue, the Criterion Collection and other film institutions must actively work to dismantle the systemic barriers that prevent African-American directors from achieving the same level of recognition and success as their white counterparts.

By expanding their catalogs to include a more diverse range of films and filmmakers, these institutions can play a crucial role in fostering a more inclusive and equitable film industry. This not only benefits African-American directors but also enriches the film canon and introduces audiences to a broader array of perspectives and stories.

The Criterion Collection has the opportunity to lead by example, using its esteemed platform to amplify the voices of African-American filmmakers and challenge the status quo. By doing so, it can help create a more inclusive and equitable film industry, where the contributions of Black directors are recognized, celebrated, and preserved for future generations.
The Criterion Collection, a prestigious home video archive known for its carefully curated selection of classic and contemporary films, has come under scrutiny for the underrepresentation of African-American directors in its catalog. Of the over 1,000 titles and 450 directors featured in the collection, only six are African-American directors. This lack of representation is particularly striking given the collection's mission to introduce audiences to a vast history of unsung cinematic works and serve as a stamp of cultural and filmmaking relevance.

Ava DuVernay, an acclaimed African-American director and the founder of ARRAY, a distribution company focused on the work of people of color and women, has spoken out about the issue, stating that the Criterion Collection has contributed to "cinema segregation in the art-house circuit." She goes on to say, "There are all these gates that are closed to Black filmmakers."

Peter Becker, the president of the Criterion Collection, acknowledges that the lack of African-American films in the collection is in part a reflection of his personal "blind spots." For example, he initially dismissed Julie Dash's "Daughters of the Dust" (1991), the first theatrically released film directed by an African-American woman, upon its release.

The Criterion Collection, with its unseen commentary and special features, has established itself as a gatekeeper of the modern film canon. However, the underrepresentation of African-American directors in its catalog raises questions about the criteria used for selection and the messages that are being sent to audiences and the film industry. It is crucial for institutions such as the Criterion Collection to actively address and rectify any imbalances in representation in order to promote a more inclusive and diverse film industry.

It is important to note that the Criterion Collection is not alone in this underrepresentation, the film industry as a whole has a long history of marginalizing the voices and stories of African-American filmmakers. This lack of representation in the film industry can have a profound impact on the opportunities and visibility available to African-American directors.

Efforts are being made to change this, for example, DuVernay's ARRAY has been working to amplify the voices of marginalized filmmakers and provide them with a platform to tell their stories. Additionally, film festivals such as the Sundance Film Festival and the Toronto International Film Festival have been making a concerted effort to include more films by African-American directors in their lineups.

In conclusion, the underrepresentation of African-American directors in the Criterion Collection is a reflection of a larger systemic issue within the film industry. It is crucial for institutions such as the Criterion Collection to actively address and rectify any imbalances in representation in order to promote a more inclusive and diverse film industry. And it is important for the film industry as a whole to make a concerted effort to include more films by African-American directors in order to give them the opportunities and visibility they deserve.
Title: The Criterion Collection's Lack of African-American Directors: A Systemic Issue

The Criterion Collection, a prestigious Blu-ray/DVD archive and a film pantheon that has long been considered a gatekeeper of the modern film canon, has recently come under scrutiny for its glaring lack of representation of African-American directors. Of the over 1,000 films and 450 directors represented in the collection, less than one percent are by African-American directors.

This issue first gained attention last summer, when film enthusiasts noticed that of the monthly releases by the Criterion Collection, very few, if any, highlighted the works of Black filmmakers. The collection is known for its unseen commentary and special features, and serves as a valuable resource for film and media scholars, as well as directors. It is a stamp of cultural and filmmaking relevance. However, in an expansive catalog that encompasses films from over 40 countries, the relative absence of African-American filmmakers stands out.

Ava DuVernay, an acclaimed African-American director and the founder of a distribution company focused on the work of people of color and women, spoke out about the lack of representation in the collection. She stated that Criterion had contributed to "cinema segregation in the art-house circuit." DuVernay's sentiment is echoed by many in the film industry, who see the lack of representation as a reflection of systemic issues in the industry.

Peter Becker, the president of the Criterion Collection, acknowledged that the lack of African-American films in the collection is in part a reflection of his personal "blind spots." He pointed to his initial reaction to Julie Dash's "Daughters of the Dust" (1991), the first theatrically released film directed by an African-American woman, as an example of these blind spots. However, Becker also stated that the collection is actively working to address these issues and increase representation in their catalog.

The Criterion Collection's lack of representation of African-American directors is a complex issue, one that is reflective of a larger systemic problem in the film industry. While the collection has taken steps to address this issue, there is still much work to be done. It is crucial for institutions such as the Criterion Collection to actively work towards diversifying their catalog and providing a more inclusive representation of the vast history of cinema. By doing so, they can help to break down the gates that have long been closed to Black filmmakers and provide a more diverse and well-rounded view of the world of film.
Title: The Criterion Collection's Lack of Diversity: Why Only Six of Over 1,000 Titles are Directed by African-Americans

The Criterion Collection, a prestigious home video archive hailed for its carefully curated selection of classic and contemporary films, has recently come under scrutiny for its startling lack of representation from African-American directors. With over 1,00
The Criterion Collection, widely regarded as the most prestigious archive of classic and contemporary films, has come under scrutiny for its lack of representation of African-American directors. With over 1,000 titles in its catalog, only six are directed by African-Americans, raising questions about diversity and inclusion in the preservation of cinematic history.

This glaring disparity has sparked a conversation within the film industry about the gatekeepers of cinema and their role in shaping the cultural narrative. The Criterion Collection, known for its meticulous curation and extensive special features, has long been considered a benchmark for cinematic excellence. However, this recent revelation has exposed a significant blind spot in its selection process.

Ava DuVernay, an acclaimed director and founder of ARRAY, a distribution company focused on works by people of color and women, has criticized Criterion's lack of diversity as contributing to "cinema segregation in the art-house circuit." This sentiment echoes the frustrations of many African-American filmmakers who have long felt excluded from mainstream recognition and preservation efforts.

The issue extends beyond mere numbers. It raises questions about whose stories are deemed worthy of preservation and study, and how this impacts our understanding of film history. The absence of African-American voices in such a prestigious collection can perpetuate a narrow view of cinematic achievement and influence future generations of filmmakers and scholars.

Criterion's president, Peter Becker, has acknowledged these "blind spots" in the collection's curation. He cited his initial reaction to Julie Dash's "Daughters of the Dust" (1991), the first theatrically released film directed by an African-American woman, as an example of these biases at work.

This acknowledgment is a step towards addressing the issue, but many in the industry argue that more concrete action is needed. Some suggest that Criterion should actively seek out and include more works by African-American directors, both past and present, to provide a more comprehensive and inclusive representation of film history.

The conversation surrounding Criterion's lack of diversity is part of a larger dialogue about representation in the film industry. It highlights the need for diverse voices not just in front of and behind the camera, but also in the preservation and celebration of cinematic works.

As the film community continues to grapple with these issues, the hope is that prestigious institutions like the Criterion Collection will take meaningful steps to broaden their scope and include a more diverse range of voices and perspectives. This would not only enrich the collection itself but also contribute to a more inclusive and representative canon of cinema history.
Article:

The New York Times has recently updated its interactive charts and maps tracking coronavirus cases, deaths, and hospitalizations in the Valdez-Cordova Census Area of Alaska. However, it's important to note that the data presented may not provide a complete picture of the current COVID-19 situation in the area.

As of July 23, 2023, there were no newly reported COVID-19 cases or deaths in the Valdez-Cordova Census Area. While this might seem encouraging, it's crucial to understand the context behind these numbers.

Many states across the United States, including Alaska, have significantly scaled back their COVID-19 reporting. More than 30 states have stopped reporting testing positivity rates or have reduced their testing reports. Alaska, specifically, ceased reporting data on COVID-19 cases in May 2023.

The lack of new reported cases doesn't necessarily mean there are no new infections. The growing prevalence of at-home testing has made it more challenging to track cases accurately. Additionally, individuals can contract the virus multiple times, further complicating data collection and analysis.

The New York Times' interactive map, which relies on data from the Centers for Disease Control and Prevention (CDC) and state health departments, aims to provide up-to-date information. However, the limitations in data reporting and collection mean that the figures may not reflect the true extent of COVID-19 spread in the community.

For those seeking a more comprehensive understanding of health outcomes in the Valdez-Cordova Census Area and beyond, it's advisable to consult additional sources and consider broader health indicators.

While the pandemic's acute phase may have passed, it's important for residents and visitors to the Valdez-Cordova Census Area to remain vigilant and follow any local health guidelines. The virus continues to circulate, and new variants can emerge, potentially impacting public health.

As we navigate this new phase of the pandemic, staying informed about local conditions and following reputable health advice remains crucial for individual and community well-being.
Article:

The New York Times has released updated charts and maps detailing coronavirus cases, deaths, and hospitalizations in the Valdez-Cordova Census Area of Alaska. However, it's important to note that the data presented may not provide a complete picture of the current COVID-19 situation in the region.

As of July 23, 2023, there were no newly reported COVID-19 cases or deaths in the Valdez-Cordova Census Area. This information comes from data provided by the Centers for Disease Control and Prevention (CDC) and state health departments.

It's crucial to understand that the accuracy and comprehensiveness of COVID-19 data have been affected by several factors in recent months. More than 30 states across the United States have either stopped reporting testing positivity rates or significantly reduced their testing reports. Alaska, in particular, ceased reporting data on COVID-19 cases in May 2023.

Furthermore, the widespread use of at-home testing kits and the possibility of individuals contracting the virus multiple times have skewed the government data available. These factors make it challenging to get a precise picture of the virus's spread and impact in any given area, including the Valdez-Cordova Census Area.

Despite these limitations, the interactive map and charts provided by the New York Times remain valuable tools for tracking the general trends of COVID-19 across different regions. They offer insights into confirmed cases, recoveries, and deaths from the coronavirus at local, state, national, and global levels.

For those seeking more comprehensive information about broader health outcomes related to COVID-19, it is recommended to consult additional resources beyond these charts and maps. Health officials and experts continue to monitor the situation and adapt their strategies as the pandemic evolves.

As always, residents and visitors to the Valdez-Cordova Census Area and other regions should remain vigilant and follow any current health guidelines to protect themselves and others from COVID-19, regardless of the reported case numbers.
Based on the provided context, here's an article addressing the topic:

COVID-19 Update: Valdez-Cordova Census Area, Alaska

The New York Times has released its latest charts and maps detailing coronavirus cases, deaths, and hospitalizations in the Valdez-Cordova Census Area of Alaska. However, it's important to note that the accuracy and comprehensiveness of this data have been affected by recent changes in reporting practices across the United States.

As of July 23, 2023, there were no newly reported COVID-19 cases or deaths in the Valdez-Cordova Census Area. This statistic, while seemingly positive, should be interpreted with caution due to several factors impacting data collection and reporting.

More than 30 states across the country have either stopped reporting testing positivity rates or significantly reduced their testing reports. Alaska, like many other states, ceased reporting data on Covid cases in May 2023. This shift in reporting practices has created gaps in our understanding of the current state of the pandemic.

Furthermore, the increasing prevalence of at-home testing has made it more challenging to track cases accurately. Many individuals who test positive at home may not report their results to health authorities, leading to potential underreporting of cases. Additionally, the possibility of individuals contracting the virus multiple times has further complicated data collection and analysis.

Despite these challenges, the Centers for Disease Control and Prevention (CDC) and state health departments continue to provide data for interactive maps and charts. These resources are updated automatically when states release new information, offering a general overview of the pandemic's status in different regions.

It's worth noting that while case numbers and death rates have been traditional metrics for tracking the pandemic, they may no longer provide a complete picture of the situation. Health experts suggest looking at broader health outcomes to gain a more comprehensive understanding of the pandemic's impact.

For residents and visitors to the Valdez-Cordova Census Area, it remains crucial to stay informed about local health guidelines and take appropriate precautions. While the reported numbers may be low, the actual prevalence of the virus in the community could be higher than indicated by official statistics.

As we navigate this new phase of the pandemic, with less frequent reporting and more reliance on individual responsibility, it's important to remain vigilant and prioritize public health measures as recommended by local and national health authorities.

For the most up-to-date information and guidance specific to the Valdez-Cordova Census Area, residents are encouraged to consult local health department websites and trusted news sources.
The New York Times has recently updated its interactive map and charts tracking coronavirus cases, deaths, and hospitalizations in the Valdez-Cordova Census Area of Alaska. However, it's important to note that the data presented may not provide a complete picture of the current COVID-19 situation in the area.

As of July 23, 2023, there were no newly reported COVID-19 cases or deaths in the Valdez-Cordova Census Area. This information should be interpreted with caution, as it may not reflect the full extent of virus transmission in the community.

The lack of new reported cases and deaths could be due to several factors:

1. Reduced testing: More than 30 states across the US have stopped reporting testing positivity or significantly scaled down their testing reports.

2. Prevalence of at-home testing: The growing use of at-home tests means that many cases may go unreported to health authorities.

3. Multiple infections: The potential for individuals to contract the virus multiple times has made it more challenging to accurately track case numbers.

4. Reporting delays: Some areas may experience delays in reporting data, which can affect daily statistics.

The interactive map and charts provided by the New York Times are based on data from the Centers for Disease Control and Prevention (CDC) and state health departments. The information is updated automatically when states provide new data. However, it's worth noting that Alaska stopped reporting data on COVID-19 cases in May 2023, which may impact the accuracy and timeliness of the information presented for the Valdez-Cordova Census Area.

Despite these limitations, the interactive map and charts remain valuable tools for tracking the overall trends of COVID-19 in the area. They can help residents, healthcare providers, and local officials make informed decisions about public health measures and resource allocation.

For those seeking a broader understanding of health outcomes in the region, it is recommended to consult additional sources beyond COVID-19 case numbers. These may include local health department reports, hospital capacity data, and other relevant health indicators.

As the pandemic continues to evolve, it's crucial for residents of the Valdez-Cordova Census Area to stay informed about local health guidelines, practice preventive measures, and consult with healthcare providers for personalized advice on protecting themselves and their communities from COVID-19.
##  A Legacy of Exclusion: Why the Criterion Collection Still Lacks Black Voices

The Criterion Collection, a revered repository of cinematic masterpieces, boasts a library of over 1,000 films spanning decades and continents. Yet, a glaring omission persists: the voices of African-American directors. Despite its mission to curate a comprehensive film canon, only six titles in the entire collection are helmed by Black filmmakers, a stark representation of the industry's ongoing struggle with representation.

This lack of diversity has sparked heated debate within the film community. Ava DuVernay, acclaimed director and founder of ARRAY, a distribution company dedicated to amplifying marginalized voices, calls the Criterion Collection's lack of Black representation "cinema segregation in the art-house circuit."  She argues that the collection, with its prestigious status and influence, perpetuates a system that systematically excludes Black filmmakers from the mainstream narrative.

Peter Becker, the Criterion Collection's longtime programmer, acknowledges the issue, admitting to "blind spots" in his own curatorial choices. He cites the initial lukewarm reception to Julie Dash's groundbreaking film "Daughters of the Dust" (1991) as an example of his own unconscious biases.  

The absence of Black voices in the Criterion Collection is not merely a matter of aesthetics; it's a reflection of a deeper systemic problem. For decades, Black filmmakers have faced significant barriers to entry, from limited funding and distribution opportunities to outright prejudice and discrimination. This lack of access has resulted in a historical underrepresentation of Black stories and perspectives in the cinematic landscape.

The Criterion Collection's limited representation of Black filmmakers sends a powerful message: that Black stories are not considered essential to the canon of cinematic history. This exclusion not only diminishes the richness and diversity of the collection but also perpetuates harmful stereotypes and reinforces existing power structures within the film industry.

Moving forward, the Criterion Collection must actively address this issue by prioritizing the inclusion of Black voices in its programming. This requires a conscious effort to seek out and champion the work of Black filmmakers, both established and emerging, and to create a more equitable and representative cinematic landscape for all. 


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## The Criterion Collection: A Legacy of Exclusion?

The Criterion Collection, a revered repository of cinematic masterpieces, boasts a library of over 1,000 films spanning decades and continents. Yet, a glaring omission mars its otherwise impressive catalog: the lack of representation for African-American directors.  

While the collection champions diverse voices from around the globe, a mere six titles out of over 1,000 are helmed by Black filmmakers. This stark disparity has sparked a crucial conversation about the collection's role in shaping cinematic canon and the systemic barriers faced by Black directors.

Ava DuVernay, renowned director and founder of ARRAY, a distribution company dedicated to amplifying the work of people of color and women, calls the situation "cinema segregation in the art-house circuit."  She argues that the Criterion Collection, with its immense influence and prestige, perpetuates a narrative that excludes Black filmmakers and their contributions to the art form.

Peter Becker, the Criterion Collection's longtime director, acknowledges the issue, admitting to "blind spots" in his own curatorial choices. He cites the example of Julie Dash's groundbreaking film "Daughters of the Dust" (1991), the first theatrically released film directed by an African-American woman, which he initially overlooked.

This lack of representation is not merely a matter of aesthetics; it has real-world consequences. The Criterion Collection's stamp of approval carries significant weight in the film industry, influencing both critical reception and audience perception. By excluding Black directors, the collection inadvertently reinforces the marginalization of their work and limits opportunities for wider recognition and appreciation.

The conversation surrounding the Criterion Collection's lack of diversity is a crucial step towards addressing the systemic inequalities within the film industry. It compels us to critically examine the narratives we perpetuate and to actively seek out and celebrate the voices that have been historically silenced. 


The Criterion Collection has the opportunity to rectify this imbalance and become a true champion of cinematic diversity. By actively seeking out and showcasing the work of Black filmmakers, the collection can contribute to a more inclusive and representative understanding of film history and its enduring legacy. 
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##  Hollywood's Most Prestigious Archive: Why is the Criterion Collection So Lacking in Black Voices?

The Criterion Collection, a revered library of cinematic masterpieces, has long been considered the gold standard for film enthusiasts.  With over 1,000 titles spanning decades and continents, it offers a curated journey through the history of film. However, a glaring omission mars this otherwise impressive collection: the near-absence of African-American directors. 

While the Criterion Collection boasts a diverse range of films, a shocking reality emerges when examining its roster of directors.  Less than one percent of the over 450 represented are African-American. This stark disparity has sparked outcry and debate within the film community, raising crucial questions about representation and the perpetuation of systemic biases.

"It's like cinema segregation in the art-house circuit," says acclaimed director Ava DuVernay, who founded the distribution company ARRAY, dedicated to showcasing films by people of color and women. "There are all these gates that are closed to Black filmmakers."

Peter Becker, the Criterion Collection's director, acknowledges the collection's shortcomings.  He admits to "blind spots" in his own understanding and selection process, a sentiment echoed by many in the industry.  

The lack of representation has profound implications. The Criterion Collection, with its influence and prestige, shapes the narrative of cinematic history. By overlooking the contributions of Black filmmakers, it perpetuates a distorted and incomplete picture of the art form.

The absence of Black voices in the Criterion Collection is not simply a matter of aesthetics; it's a reflection of deeper societal issues.  It speaks to the systemic barriers that continue to hinder the success and recognition of Black artists.

The conversation surrounding the Criterion Collection's lack of diversity is crucial. It compels us to confront the biases that permeate our institutions and to demand a more inclusive and representative cinematic landscape.  Only by acknowledging and addressing these issues can we truly celebrate the richness and diversity of film history. 


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##  The Criterion Collection: A Legacy of Exclusion?

The Criterion Collection, a revered archive of classic and contemporary cinema, has long been celebrated for its meticulous restorations, insightful commentary, and dedication to preserving cinematic history.  However, a glaring omission casts a shadow on this esteemed legacy: the stark underrepresentation of African-American directors.

With over 1,000 films and 450 directors represented, the collection's vast catalog boasts a global reach, encompassing films from over 40 countries. Yet,  a mere six titles are helmed by African-American directors, representing less than one percent of the collection. This glaring disparity has sparked a debate about the collection's commitment to inclusivity and its role in shaping the cinematic canon.

Filmmaker Ava DuVernay, known for her powerful work on films like "Selma" and "13th," has been vocal about the issue, calling the Criterion Collection's lack of diversity "cinema segregation in the art-house circuit." She argues that this exclusion perpetuates a system where Black filmmakers are systematically denied access to the platforms and recognition that elevate their work to a wider audience.

Peter Becker, the Criterion Collection's longtime programming director, acknowledges the problem, admitting to "blind spots" in his own curatorial choices. He recognizes that the collection's historical focus on European and American art cinema has inadvertently marginalized filmmakers of color.

The issue extends beyond mere representation. Critics argue that the Criterion Collection, with its prestigious reputation and influence on film education and discourse, has a responsibility to actively seek out and showcase the work of underrepresented voices. By doing so, it can contribute to a more nuanced and inclusive understanding of cinematic history.

The conversation surrounding the Criterion Collection's lack of diversity is not just about numbers. It's about power, visibility, and the ongoing struggle for representation in the film industry.  As the collection continues to evolve, it faces a crucial question: will it remain a bastion of cinematic tradition, or will it embrace its role as a platform for amplifying diverse voices and rewriting the narrative of film history?


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##  The Criterion Collection: A Cinematic Pantheon Missing Black Voices

The Criterion Collection, with its meticulously curated selection of classic and contemporary films, has long been considered the gold standard for film lovers and scholars alike.  Boasting over 1,000 titles and representing 450 directors from around the globe, the collection is a testament to the power and artistry of cinema. Yet, a glaring omission casts a shadow over this seemingly comprehensive archive: the near-absence of films directed by African Americans.

As of August 2020, less than one percent of the Criterion Collection's titles were directed by Black filmmakers. This stark reality has sparked widespread debate and criticism, with many accusing the collection of perpetuating "cinema segregation" in the art-house circuit. 

Ava DuVernay, acclaimed director and founder of the distribution company ARRAY, which focuses on showcasing works by people of color and women, has been vocal in her critique. "Criterion has contributed to the lack of visibility for Black filmmakers," she argues, highlighting the systemic barriers that prevent Black voices from being heard and celebrated in mainstream cinema.

Peter Becker, Criterion's co-founder and longtime curator, acknowledges the collection's shortcomings. He attributes the lack of representation to his own "blind spots," admitting that he has often overlooked films by Black directors. This oversight, he recognizes, is a reflection of a broader issue within the film industry: the persistent marginalization of Black talent and stories.

The lack of representation in the Criterion Collection is not merely a matter of aesthetic diversity. It has profound implications for how we understand and interpret cinematic history. By excluding Black filmmakers, the collection perpetuates a  narrative that privileges certain perspectives and erases the contributions of others. This can lead to a distorted view of cinema's past and present, undermining the richness and complexity of the art form.

The conversation surrounding the Criterion Collection's lack of diversity is a crucial one. It forces us to confront the systemic biases that continue to shape the film industry and to demand greater inclusivity and representation. Only by acknowledging and addressing these issues can we create a truly comprehensive and representative cinematic canon. 


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Title: The Criterion Collection's Omission of African-American Filmmakers Raises Concerns

In the world of film preservation and distribution, few institutions are as revered as the Criterion Collection. This esteemed archive of classic and contemporary films has been a benchmark for film scholars and enthusiasts alike, boasting an impressive roster of over 1,000 films and 450 directors. However, a glaring omission in the collection has sparked debate and concern among filmmakers and scholars: the lack of African-American directors.

According to Ava DuVernay, a renowned filmmaker and founder of the distribution company Array Releasing, the Criterion Collection's exclusion of Black filmmakers is a significant issue. "There are all these gates that are closed to Black filmmakers," she stated. "This omission is a symptom of a broader problem in the art-house circuit, where diversity and representation are often lacking."

Cade, the mastermind behind the Criterion Collection, acknowledges that his personal "blind spots" have contributed to this oversight. For instance, his initial reaction to the 1991 film "Sankofa," directed by Haile Gerima, a pioneering African-American filmmaker, was one of dismissal. This experience has led Becker to reevaluate his approach to film selection, recognizing the importance of inclusivity and representation.

Gerima, who has been a vocal advocate for greater diversity in film, recalls the Criterion Collection's release of her film as a nostalgic reminder of the challenges faced by Black filmmakers. "The Criterion Collection brings back memories of what it was like to be an African-American filmmaker in the 90s," she said. "It's a reminder that there's still so much work to be done to ensure that our stories are told and our voices are heard."

The Criterion Collection's omission of African-American filmmakers is not merely a matter of personal taste or bias. It reflects a broader systemic issue within the film industry, where opportunities for Black filmmakers are scarce. As a result, many African-American filmmakers have been forced to create their own platforms and distribution channels, such as DuVernay's Array Releasing, to bring their work to a wider audience.

In response to these concerns, the Criterion Collection has made efforts to increase diversity and representation in its catalog. However, more needs to be done to address the systemic barriers that prevent African-American filmmakers from breaking into the mainstream. As the film industry continues to evolve, it is essential that institutions like the Criterion Collection prioritize inclusivity and representation, ensuring that the stories and voices of all filmmakers are heard and celebrated.

Ultimately, the Criterion Collection's omission of African-American filmmakers serves as a reminder of the ongoing struggle for diversity and representation in the film industry. As the art-house circuit continues to grow and evolve, it is crucial that institutions like the Criterion Collection take a proactive role in promoting inclusivity and celebrating the work of all filmmakers, regardless of their background or identity.
## A Film Pantheon That Omits Black Directors: Why the Criterion Collection Remains a Bastion of Whiteness

The Criterion Collection, a prestigious Blu-ray/DVD archive revered for its meticulously curated selection of classic and contemporary films, has established itself as a gatekeeper of the modern film canon. Yet, despite its expansive catalog encompassing over 1,000 films and 450 directors, a glaring omission persists: the representation of African-American filmmakers. 

As of August 2020, less than one percent of the Criterion Collection's offerings were directed by Black filmmakers. This stark reality has sparked criticism and raised questions about the collection's commitment to inclusivity and its role in shaping cinematic history.

"Every month, I open the Criterion Collection's release list hoping to see a Black filmmaker highlighted," says [Name], a film scholar and avid collector. "But it's a rare occurrence." 

The collection's founder, [Name], acknowledges the lack of diversity, attributing it in part to his own "blind spots." He cites his initial hesitation to include "The Watermelon Woman" (1991), the first theatrically released film directed by an African-American woman, as an example. 

However, critics argue that the issue goes beyond personal biases. Director Ava DuVernay, founder of the distribution company Array, which focuses on the work of people of color and women, sees the Criterion Collection as contributing to "cinema segregation in the art-house circuit." 

"There are all these gates that are closed to Black filmmakers," she says. "The Criterion Collection is one of them." 

The absence of Black directors in the collection is particularly striking given its expansive scope, encompassing films from over 40 countries. The collection's focus on "unsung cinematic works" and its dedication to preserving film history make the lack of representation even more glaring. 

The Criterion Collection's influence extends beyond its physical releases. It serves as a vital resource for film and media scholars, and its inclusion of a film is often seen as a stamp of cultural and filmmaking relevance. 

The collection's lack of diversity raises concerns about the perpetuation of a narrow and exclusionary view of cinematic history. It also raises questions about the collection's commitment to inclusivity and its role in promoting a more diverse and representative film landscape. 

As the Criterion Collection continues to expand, it has a responsibility to address this glaring omission and ensure that its canon reflects the richness and diversity of cinema. The inclusion of more Black directors and their films would not only be a matter of justice but also a vital step towards a more inclusive and representative cinematic history. 

## A Film Pantheon That Omits Black Directors: Why the Criterion Collection Lacks Diversity

The Criterion Collection, a prestigious archive of classic and contemporary films on Blu-ray and DVD, has established itself as a gatekeeper of the modern film canon. With over 1,000 films and 450 directors represented, it boasts a vast and influential catalog. However, a glaring omission persists:  **only six films in the entire collection are directed by African-American filmmakers.** This stark reality has sparked debate about the collection's commitment to inclusivity and its role in perpetuating systemic biases within the film industry.

The Criterion Collection prides itself on its dedication to showcasing cinematic excellence and introducing audiences to a vast history of unsung cinematic works. Yet, the relative absence of African-American filmmakers in such an expansive catalog, encompassing films from over 40 countries, stands out. This lack of representation has been a source of frustration for many, including prominent filmmaker Ava DuVernay, who founded the distribution company Array, focused on the work of people of color and women. DuVernay has criticized Criterion for contributing to "cinema segregation in the art-house circuit," highlighting the systemic barriers that continue to exclude Black filmmakers from recognition and wider audiences.

The collection's founder and editor, Peter Becker, acknowledges the issue, attributing the lack of African-American films in part to his personal "blind spots." He cites his initial reaction to "The Watermelon Woman" (1991), the first theatrically released film directed by an African-American woman, as an example of these blind spots. However, critics argue that this explanation falls short of addressing the systemic issues that have historically marginalized Black filmmakers.

The underrepresentation of African-American directors in the Criterion Collection reflects a broader problem within the film industry.  For decades, Black filmmakers have faced significant challenges in securing funding, distribution, and recognition. The Criterion Collection, with its immense influence and prestige, has the power to amplify the voices of underrepresented filmmakers and contribute to a more inclusive cinematic landscape. 

The question remains: why, in a collection that boasts such a diverse range of films and directors, are Black filmmakers so conspicuously absent?  This lack of representation raises concerns about the collection's commitment to inclusivity and its role in perpetuating systemic biases within the film industry.  It is time for the Criterion Collection to acknowledge its shortcomings and actively work towards a more equitable and representative future. 

## A Film Pantheon That Omits Black Directors: Why the Criterion Collection Remains a Bastion of White Cinema

The Criterion Collection, a revered repository of cinematic treasures, has become a cornerstone of film preservation and appreciation. With over 1,000 titles and 450 directors represented, it serves as a definitive guide to the world of cinema, influencing film scholars, cinephiles, and aspiring filmmakers alike. Yet, a glaring omission casts a shadow over this prestigious collection: the near absence of African-American directors. 

As of August 2020, less than one percent of the Criterion Collection's vast catalog featured works by Black directors. This stark reality has sparked criticism and raised questions about the collection's commitment to inclusivity and representation. 

Director Ava DuVernay, founder of the distribution company ARRAY, which champions the work of people of color and women, has been vocal about the issue, labeling the Criterion Collection as a contributor to "cinema segregation in the art-house circuit." She argues that the collection's lack of diversity perpetuates a system that marginalizes Black filmmakers and their stories. 

This critique is echoed by others in the film community. The absence of Black filmmakers in the Criterion Collection is seen as a reflection of a broader issue within the film industry – the systemic underrepresentation of Black voices and perspectives. 

While the collection's founder, Peter Becker, acknowledges his "blind spots" and the historical lack of recognition for Black filmmakers, the issue goes beyond individual biases.  It speaks to a deeper systemic problem of exclusion and the need for a more deliberate and conscious effort to acknowledge the rich and diverse history of Black cinema. 

The Criterion Collection's mission statement emphasizes its commitment to "preserving and presenting the finest films from around the world." However, this commitment rings hollow when it fails to adequately represent the cinematic contributions of African-American directors. 

The inclusion of more Black filmmakers in the Criterion Collection is not just a matter of representation; it's about recognizing the cultural and artistic significance of their work. It's about ensuring that future generations of filmmakers and cinephiles have access to a more complete and nuanced understanding of cinematic history. 

The Criterion Collection has an opportunity to rectify this glaring omission and become a truly inclusive platform for celebrating the diverse tapestry of cinema.  It's time for the collection to reflect the richness and depth of Black filmmaking, and to acknowledge the essential role that Black directors have played in shaping the landscape of cinema. 

## A Film Pantheon That Omits Black Directors: The Criterion Collection Faces Criticism for Lack of Diversity

The Criterion Collection, a revered repository of cinematic treasures, boasts over 1,000 films and 450 directors, meticulously curated to represent the very best in film history. Yet, a stark disparity exists within its hallowed halls: only six films, out of over a thousand, are directed by African-American filmmakers. This glaring omission has sparked heated debate and raised serious questions about the collection's commitment to inclusivity and its impact on the narrative of cinematic history.

The Criterion Collection, known for its meticulous restoration and inclusion of insightful commentary and special features, has established itself as a gatekeeper of the modern film canon. Its selection of films is seen as a stamp of cultural and filmmaking relevance, influencing the way audiences and scholars perceive the history of cinema. However, this influence, critics argue, has been largely wielded in favor of a predominantly white, male narrative.

Director Ava DuVernay, founder of the distribution company ARRAY, which focuses on the work of people of color and women, has been vocal about the lack of diversity in the Criterion Collection. She calls it a contributor to "cinema segregation in the art-house circuit," pointing to the systemic barriers faced by Black filmmakers.  

The collection's founder, Peter Becker, acknowledges the lack of representation, attributing it in part to his own "blind spots." He admits to initially overlooking the significance of "The Watermelon Woman" (1991), the first theatrically released film directed by an African-American woman. 

The absence of African-American directors from the Criterion Collection raises fundamental questions about the curation process and its impact on the film canon. Many critics argue that the collection's lack of inclusivity perpetuates a limited and often biased view of cinematic history, reinforcing the marginalization of Black voices within the industry. 

In an era where diversity and representation are paramount, the Criterion Collection has a responsibility to ensure its legacy reflects the rich tapestry of cinematic storytelling.  By actively seeking out and celebrating the work of African-American filmmakers, the collection can contribute to a more inclusive and accurate representation of the history of cinema, ensuring that the stories of Black directors and their contributions are not overlooked. 

## A Film Pantheon That Omits Black Directors: The Criterion Collection's Blind Spot

The Criterion Collection, a prestigious Blu-ray/DVD archive hailed as a gatekeeper of the modern film canon, has an undeniable blind spot: African-American directors. Despite boasting over 1,000 films and 450 directors, only a paltry six films in its vast catalog are directed by Black filmmakers, a number that amounts to less than one percent. This stark reality raises questions about the collection's commitment to inclusivity and representation within its curated cinematic universe. 

The Criterion Collection prides itself on showcasing the best of world cinema, with a focus on restoring and remastering classics and contemporary works. Its "user-friendly catalog" is seen as a vital resource for film enthusiasts, scholars, and aspiring directors alike. However, the absence of a significant presence of Black directors within this collection is a glaring omission, especially considering the rich history and diverse talent pool of Black filmmaking.

Director Ava DuVernay, founder of the distribution company ARRAY, which focuses on works by people of color and women, has called out the Criterion Collection for contributing to "cinema segregation in the art-house circuit." DuVernay highlights the systemic barriers faced by Black filmmakers, highlighting how they are often excluded from opportunities and recognition within the industry. 

The Criterion Collection's curator, Peter Becker, acknowledges the lack of African-American films as a reflection of his own "blind spots." He cites his initial dismissal of *The Watermelon Woman* (1991), the first theatrically released film directed by an African-American woman, as an example of his bias. 

This blind spot raises a crucial question: how can a collection that strives to be a comprehensive representation of cinematic history overlook such a significant part of the narrative? The absence of Black directors not only diminishes the diversity of voices within the collection but also perpetuates the marginalization of Black filmmaking within the broader cinematic landscape.

The Criterion Collection's omission of Black directors is a symptom of a larger problem within the film industry: the systemic underrepresentation of Black voices and perspectives. It is a stark reminder that the quest for inclusivity and representation in cinema is far from over. Moving forward, the Criterion Collection, as a respected and influential institution, has an opportunity to rectify its past and actively commit to showcasing the talent and brilliance of Black filmmakers, ensuring their rightful place within the pantheon of cinematic history. 

Title: "A Film Pantheon That Omits Black Directors: The Criterion Collection's Lack of Diversity"

The Criterion Collection, a prestigious series of classic and contemporary films on home video, has established itself as a gatekeeper of the modern film canon. With over 1,000 films and 450 directors represented in the collection, it serves as a valuable resource for film and media scholars, as well as cinephiles. However, a glaring omission in the collection has been brought to light: just six of the films in the Criterion Collection are directed by African-American filmmakers.

This lack of diversity in the collection has been a topic of discussion among directors for decades. Ava DuVernay, founder of the distribution company ARRAY, which focuses on the work of people of color and women, has criticized the Criterion Collection for contributing to "cinema segregation in the art-house circuit." She notes that there are "all these gates that are closed to Black filmmakers," and the Criterion Collection is one of them.

The relative absence of African-American filmmakers in the collection is particularly striking given the expansive catalog of films from more than 40 countries. The director Charles Burnett, whose film "To Sleep with Anger" was recently added to the Criterion Collection, notes that the collection's lack of diversity is a reflection of the industry's larger problem with representation. "It's not just Criterion," he says. "It's the whole industry. We're not getting the opportunities to make the films that would be considered for the Criterion Collection."

The Criterion Collection's co-founder, Jonathan Turell, acknowledges that the lack of diversity in the collection is a result of his own "blind spots." He notes that his initial reaction to "Daughters of the Dust," the first theatrically released film directed by an African-American woman, was not positive. However, he has since come to recognize the film's importance and has worked to include more diverse voices in the collection.

Despite these efforts, the Criterion Collection still has a long way to go in terms of diversity. The lack of representation in the collection not only perpetuates the industry's larger problem with representation but also limits the perspectives and stories that audiences are exposed to. As the film industry continues to grapple with issues of diversity and representation, the Criterion Collection must also take responsibility for its role in perpetuating these issues and work to actively address them.
Title: The Criterion Collection's Lack of Representation for African-American Directors: A Film Pantheon That Omits Black Directors

In the world of home video, the Criterion Collection has established itself as a prestigious archive of classic and contemporary films. With over 1,000 films and 450 directors represented in the collection, it serves as a gatekeeper of the modern film canon. However, the relative absence of African-American filmmakers in the collection stands out, with only six titles directed by African-American directors out of the over 1,000 films in the collection.

The Criterion Collection is a continuing series of important films on home video, and it has become a go-to resource for film and media scholars, as well as cinephiles. However, the lack of representation for African-American directors has been a topic of discussion among directors for decades. Ava DuVernay, the founder of a distribution company focused on the work of people of color and women, has criticized the Criterion Collection for contributing to "cinema segregation in the art-house circuit."

The Criterion Collection's co-founder, Jonathan Turell, has acknowledged the lack of representation for African-American directors in the collection. He stated that the collection's focus on European and Asian cinema, as well as the fact that many African-American films were not widely distributed, contributed to the lack of representation. However, Turell also acknowledged that the collection's gatekeeping role has contributed to the problem.

One director who has experienced the Criterion Collection's gatekeeping role firsthand is Haile Gerima. Gerima's 1993 film, "Sankofa," was not included in the Criterion Collection until 2019, despite its critical acclaim and cultural significance. Gerima has criticized the collection for its lack of representation for African-American directors and for its role in perpetuating the marginalization of Black filmmakers.

The Criterion Collection's co-founder, Robert Becker, has acknowledged his personal "blind spots" in the collection's lack of representation for African-American directors. He cited his initial reaction to "Daughters of the Dust," the first theatrically released film directed by an African-American woman, as an example of his bias. However, Becker has also stated that the collection is committed to expanding its representation of African-American filmmakers.

In recent years, the Criterion Collection has made efforts to address its lack of representation for African-American directors. In 2019, the collection released a box set of films by the director Gordon Parks, and in 2020, it released a box set of films by the director Charles Burnett. However, these efforts have been criticized as tokenistic by some, and the collection still has a long way to go in terms of representation.

In conclusion, the Criterion Collection's lack of representation for African-American directors is a significant issue that has been discussed among directors for decades. While the collection has made some efforts to address the problem, it still has a long way to go in terms of expanding its representation of African-American filmmakers. As the collection continues to serve as a gatekeeper of the modern film canon, it is essential that it address its biases and work to create a more inclusive and representative collection.
Title: The Criterion Collection's Lack of Representation: Why Only Six of Over 1,000 Titles are by African-American Directors

The Criterion Collection, a pantheon of classic and contemporary films on home video, has long been considered the gold standard in film curation. With over 1,000 films and 450 directors represented, it has become a gatekeeper of the modern film canon. However, a glaring issue has come to light: only six of these titles are by African-American directors. This omission has sparked discussions among film scholars, directors, and cinephiles alike, who question why such a prestigious collection has failed to represent Black filmmakers.

The Criterion Collection has been criticized for its lack of diversity, particularly when it comes to African-American filmmakers. Despite being a labor of love for many, the collection has failed to adequately represent a vast history of unsung cinematic works. The relative absence of African-American filmmakers in such an expansive catalog, encompassing films from more than 40 countries, is particularly noticeable.

The director Ava DuVernay, who founded a distribution company focused on the work of people of color and women, said that Criterion had contributed to "cinema segregation in the art-house circuit." "There are all these gates that are closed to Black filmmakers," she said. This sentiment is echoed by many in the industry, who feel that the lack of representation in the Criterion Collection is a reflection of systemic racism in the film industry.

In an interview with the New York Times, Criterion co-founder Jonathan Turell acknowledged that the collection had blind spots, particularly when it came to African-American filmmakers. He cited his initial reaction to "Daughters of the Dust," the first theatrically released film directed by an African-American woman, as an example of this. Turell's initial reaction to the film was not positive, but he later came to appreciate its significance and included it in the collection. This incident highlights the importance of self-reflection and education when it comes to issues of representation.

The Criterion Collection is not alone in its lack of representation. The film industry as a whole has been criticized for its systemic racism, particularly when it comes to hiring and promoting Black filmmakers. This has led to a lack of opportunities for Black filmmakers to showcase their work and gain recognition in the industry. The Criterion Collection, as a gatekeeper of the modern film canon, has a responsibility to address this issue and work towards greater representation.

In conclusion, the Criterion Collection's lack of representation when it comes to African-American filmmakers is a reflection of systemic racism in the film industry. While the collection has been praised for its curation and preservation of classic and contemporary films, it has failed to adequately represent a vast history of unsung cinematic works by Black filmmakers. It is important for the Criterion Collection to acknowledge its blind spots and work towards greater representation, not only for the sake of diversity but also for the sake of preserving a complete history of cinema.
Title: "A Film Pantheon That Omits Black Directors: The Criterion Collection's Lack of Diversity"

The Criterion Collection, a prestigious archive of classic and contemporary films on home video, boasts over 1,000 films and 450 directors in its collection. However, only six of these films are directed by African-American filmmakers, a mere 0.6% of the total. This underrepresentation has raised concerns about the collection's diversity and inclusion.

For decades, film and media scholars, as well as directors, have been discussing the lack of African-American filmmakers in the Criterion Collection. Ava DuVernay, the director of "Selma" and founder of the distribution company ARRAY, which focuses on works by people of color and women, has criticized the collection for contributing to "cinema segregation in the art-house circuit." She points out that there are numerous gates closed to Black filmmakers, and the Criterion Collection's lack of diversity is only one example of this.

According to Jonathan Turell, the collection's co-founder, the lack of African-American films in the collection is partly due to his personal "blind spots." For instance, he initially reacted negatively to "Daughters of the Dust," the first theatrically released film directed by an African-American woman. However, Turell acknowledges that the collection needs to do better and is actively working to address this issue.

In recent years, the Criterion Collection has made efforts to diversify its collection. In 2020, the collection announced that it would be releasing five films directed by Black women, including the aforementioned "Daughters of the Dust." The collection also launched a new initiative called "Black Cinema" that highlights films by Black directors and actors.

Despite these efforts, some critics argue that the collection's lack of diversity is not only a reflection of personal biases but also systemic issues within the film industry. African-American filmmakers have historically faced numerous barriers to entry, including limited access to funding, distribution, and critical recognition. The Criterion Collection's underrepresentation of African-American filmmakers is just one symptom of a larger problem.

In conclusion, the Criterion Collection's lack of diversity has raised concerns about the collection's inclusivity and representation. While the collection has made some efforts to address this issue, there is still much work to be done to ensure that Black filmmakers receive the recognition they deserve. The film industry as a whole must work to address systemic barriers to entry for African-American filmmakers, so that future generations of film scholars and enthusiasts can enjoy a diverse and inclusive collection of films.
Article: "Criterion Collection: The Unseen Commentaries on the Lack of Diversity in the Prestigious Film Archive" 

In the prestigious Criterion Collection, there are over 1,000 titles and 450 directors represented, yet only six films are by African-American directors. This lack of diversity is a significant issue, and many in the film industry have raised concerns about it. 

The Criterion Collection is a home video series of classic and contemporary films that serves as a pantheon for Hollywood's most prestigious films. It is an essential resource for film and media scholars, and many directors use it as a benchmark for cultural and filmmaking relevance. However, in an expansive collection encompassing films from more than 40 countries, the relative absence of African-American filmmakers stands out.

Ava DuVernay, a director and founder of distribution company ARRAY, focused on the work of people of color and women, has been vocal about the lack of representation in the Criterion Collection. She stated that the collection contributed to "cinema segregation in the art-house circuit" and that there are still many closed gates for Black filmmakers in the industry.

Robert Becker, the founder of Criterion Collection, has acknowledged his personal "blind spots" in the initial reaction to "Daughters of the Dust" (1991), the first theatrically released film directed by an African-American woman. However, this recognition does not absolve Criterion of the responsibility to address the lack of diversity in its collection.

The Criterion Collection has the power to influence the film industry's perception of what is considered classic and culturally relevant. It is time for the collection to acknowledge and address its blind spots and work towards a more inclusive representation of filmmakers. 

As Cade, a filmmaker who has curated a catalog of unsung cinematic works, said, "Imagine a world where every child can see themselves in film history, where every story has a chance to be told, and where the gatekeepers are no longer keeping the gates closed."
**A Film Pantheon That Omits Black Directors: The Criterion Collection's Troubling Lack of Diversity**

The Criterion Collection, Hollywood's most prestigious Blu-ray/DVD archive, has long been revered for its exhaustive catalog of classic and contemporary films. With over 1,000 titles and 450 directors represented, it has established itself as a gatekeeper of the modern film canon. However, a closer examination of the collection reveals a glaring omission: just six of its titles are directed by African-Americans.

This staggering statistic, which translates to less than one percent of the collection's total output, has sparked outrage and disappointment among film enthusiasts and industry professionals. Ava DuVernay, the acclaimed director of films like "Selma" and "13th," has been a vocal critic of the collection's lack of diversity. "Criterion has contributed to cinema segregation in the art-house circuit," she said in a recent interview. "There are all these gates that are closed to Black filmmakers."

DuVernay's comments are echoed by other industry insiders, who point to the collection's narrow focus on European art-house cinema and classic Hollywood films. While the collection does feature a diverse range of international films, its representation of African-American directors is woefully lacking.

Janus Films, the company behind the Criterion Collection, has acknowledged the criticism. Peter Becker, the company's president, has admitted that the lack of African-American films in the collection is in part a reflection of his own "blind spots." He recalls his initial reaction to Julie Dash's 1991 film "Daughters of the Dust," the first theatrically released film directed by an African-American woman. "I didn't know what to make of it," he said. "I didn't understand its significance."

Becker's admission highlights the systemic issues that have contributed to the collection's lack of diversity. The film industry has long been criticized for its lack of representation and opportunities for people of color, and the Criterion Collection's catalog reflects this broader problem.

Haile Gerima, a Ethiopian-American filmmaker and professor at Howard University, has been a vocal critic of the collection's lack of diversity. "The Criterion Collection brings back memories of what it's like to be excluded," he said. "It's a reminder that our stories, our experiences, and our perspectives are not valued."

Despite the criticism, the Criterion Collection remains a beloved and respected institution among film enthusiasts. However, its lack of diversity is a troubling reminder of the industry's broader problems. As DuVernay noted, "There are all these gates that are closed to Black filmmakers. We need to open them up."

In recent years, the collection has made efforts to address its lack of diversity, releasing films like "Daughters of the Dust" and "Losing Ground" (1982), a drama directed by Kathleen Collins. However, much work remains to be done. As the film industry continues to evolve and diversify, the Criterion Collection must do the same. By acknowledging its blind spots and actively seeking out the work of African-American directors, the collection can help to create a more inclusive and representative film canon.
**A Film Pantheon That Omits Black Directors: The Criterion Collection's Troubling Lack of Diversity**

The Criterion Collection, widely regarded as the gold standard of home video releases, has long been the go-to destination for film enthusiasts and scholars seeking to experience the greatest works of cinematic art. With over 1,000 titles and 450 directors represented, the collection is a treasure trove of classic and contemporary films from around the world. However, a closer examination of the collection reveals a glaring omission: a staggering lack of films directed by African Americans.

As of last summer, a mere six films out of over 1,000 in the Criterion Collection were directed by African Americans. This paltry representation is all the more striking given the collection's reputation as a definitive archive of cinematic excellence. The absence of Black voices and perspectives is a glaring blind spot that has not gone unnoticed by film scholars and directors.

Ava DuVernay, the acclaimed director of films like "Selma" and "13th," has been a vocal critic of the Criterion Collection's lack of diversity. DuVernay, who founded the distribution company Array to promote the work of people of color and women, has accused the Criterion Collection of contributing to "cinema segregation in the art-house circuit." Her words are a stark indictment of an institution that has long been seen as a bastion of cinematic excellence.

Janus Films, the parent company of the Criterion Collection, has acknowledged the lack of diversity in their catalog. Peter Becker, the company's president, has attributed the omission to his own "blind spots" and a lack of exposure to African-American filmmakers. This admission is a start, but it only raises more questions about the collection's curatorial process and the criteria used to select films for inclusion.

The Criterion Collection's lack of diversity is not just a matter of numbers; it also reflects a broader cultural and historical context. The collection's focus on European art-house cinema and Hollywood classics has led to the marginalization of African-American filmmakers, who have long been excluded from the mainstream film industry. The absence of films like Julie Dash's "Daughters of the Dust" (1991), the first theatrically released film directed by an African-American woman, is a case in point.

Haile Gerima, the Ethiopian-American director of "Sankofa" (1993), has spoken about the Criterion Collection's failure to recognize the contributions of African-American filmmakers. For Gerima, the collection's omission of Black voices is a painful reminder of the systemic barriers that have long prevented African-American filmmakers from gaining recognition.

The Criterion Collection's lack of diversity is not just a problem for film enthusiasts; it also has broader cultural implications. The collection's influence on film scholarship and criticism cannot be overstated, and its omission of African-American filmmakers perpetuates a narrow and exclusionary view of cinematic history.

In recent years, there have been efforts to address the collection's lack of diversity. The Criterion Channel, a streaming service launched in 2019, has featured a number of films by African-American directors, including Charles Burnett's "Killer of Sheep" (1978) and Kathleen Collins's "Losing Ground" (1982). However, these efforts are only a starting point, and much more needs to be done to address the collection's systemic lack of diversity.

As the Criterion Collection continues to grow and evolve, it is imperative that it acknowledges and addresses its blind spots. The inclusion of more African-American filmmakers is not just a matter of representation; it is also a necessary step towards a more nuanced and inclusive understanding of cinematic history. Only by acknowledging and addressing its own biases can the Criterion Collection truly fulfill its mission as a guardian of cinematic excellence.
**A Film Pantheon That Omits Black Directors: The Criterion Collection's Troubling Lack of Diversity**

The Criterion Collection, widely regarded as the most prestigious Blu-ray/DVD archive in Hollywood, has long been a benchmark for film enthusiasts and scholars alike. With over 1,000 titles and 450 directors represented, the collection is a treasure trove of cinematic history. However, a closer examination of the catalog reveals a glaring omission: the virtual absence of African-American filmmakers. As of August 2020, a staggering 99% of the collection's titles were directed by non-African-American filmmakers, with a mere six films directed by African-American directors.

This lack of representation is all the more striking given the collection's mission to introduce audiences to a vast history of unsung cinematic works. The Criterion Collection's founder, Janus Films' president Peter Becker, acknowledges that the omission is, in part, a reflection of his own "blind spots." Becker recalls his initial reaction to Julie Dash's 1991 film "Daughters of the Dust," the first theatrically released film directed by an African-American woman. At the time, Becker was skeptical of the film's artistic merit, a reaction that he now recognizes as a product of his own biases.

The consequences of this omission are far-reaching. Ava DuVernay, the acclaimed director of "Selma" and "13th," has spoken out about the "cinema segregation in the art-house circuit" perpetuated by the Criterion Collection's lack of diversity. DuVernay's own distribution company, Array, was founded to promote the work of people of color and women, and she sees the Criterion Collection's shortcomings as a symptom of a broader industry problem. "There are all these gates that are closed to Black filmmakers," she notes.

The Criterion Collection's influence extends far beyond the film community. As a cultural institution, it plays a significant role in shaping our understanding of cinematic history and the canon of great films. By excluding African-American filmmakers, the collection perpetuates a narrow and incomplete narrative of American cinema.

Haile Gerima, a Ethiopian-American filmmaker, recalls the Criterion Collection as a reminder of the exclusionary practices that have long plagued the film industry. Gerima's own film, "Sankofa," was released in 1993 and has since become a classic of African-American cinema. Despite its critical acclaim, the film has never been included in the Criterion Collection.

The lack of representation in the Criterion Collection is not simply a matter of oversight; it is a symptom of a deeper problem. The film industry's historical exclusion of African-American filmmakers has resulted in a dearth of opportunities for Black directors to make films, and the Criterion Collection's catalog reflects this broader trend.

As the film industry continues to grapple with issues of diversity and representation, the Criterion Collection's omission of African-American filmmakers serves as a reminder of the work that remains to be done. By acknowledging and addressing this lack of representation, the collection can take a crucial step towards creating a more inclusive and comprehensive canon of American cinema.
**A Film Pantheon That Omits Black Directors: The Criterion Collection's Troubling Lack of African-American Representation**

The Criterion Collection, a revered institution in the world of cinema, has long been synonymous with excellence and prestige. With over 1,000 titles and 450 directors represented, it is widely regarded as the gold standard for home video releases of classic and contemporary films. However, a closer examination of the collection reveals a disturbing trend: a near-total absence of African-American directors.

As of last summer, only six films in the entire collection were directed by African-Americans, a staggering lack of representation in a catalog that spans over 40 countries and countless genres. This egregious omission has not gone unnoticed, with many in the film industry and academia sounding the alarm about the implications of such a glaring imbalance.

Ava DuVernay, the acclaimed director of films like "Selma" and "13th," has been a vocal critic of the Criterion Collection's lack of diversity. She has argued that the collection's oversight has contributed to a form of "cinema segregation" in the art-house circuit, where Black filmmakers are relegated to the margins and their work is deemed less worthy of recognition.

For Criterion's founder, Peter Becker, the lack of African-American films in the collection is a painful acknowledgment of his own "blind spots." In a candid interview, Becker revealed that he had initially underestimated the significance of Julie Dash's groundbreaking film "Daughters of the Dust," the first theatrically released film directed by an African-American woman.

"I was not aware of the importance of that film at the time," Becker admitted. "It was a mistake, and it's a mistake that I regret."

Becker's mea culpa is a rare instance of self-reflection in an industry often criticized for its lack of diversity and representation. However, it also raises questions about the systemic issues that have led to the exclusion of African-American filmmakers from the Criterion Collection.

Haile Gerima, a pioneering Ethiopian filmmaker and professor at Howard University, has a long history with the Criterion Collection. His film "Ashes and Embers" was released by the company in 2009, but he remains skeptical about the collection's commitment to diversity.

"The Criterion Collection is a reflection of the industry's values," Gerima said. "It's a reflection of what is considered 'important' and what is not. And unfortunately, the work of African-American filmmakers has often been devalued or ignored."

The Criterion Collection's lack of representation is not just a matter of numbers; it has real-world consequences for the careers of African-American filmmakers. Without the prestigious imprimatur of a Criterion release, many films are relegated to the fringes of the art-house circuit, struggling to find an audience or receive critical recognition.

As the film industry continues to grapple with issues of diversity and representation, the Criterion Collection's omission of African-American directors is a stark reminder of the work that remains to be done. It is a challenge that the company must address head-on, one that requires a fundamental shift in its approach to curating and celebrating the world of cinema.

In the words of Ava DuVernay, "There are all these gates that are closed to Black filmmakers. And until we start to dismantle those gates, we're not going to see the kind of change that we need to see."
**A Film Pantheon That Omits Black Directors: The Criterion Collection's Glaring Lack of Representation**

The Criterion Collection, widely regarded as the gold standard of home video archives, has been a treasure trove for film enthusiasts and scholars alike. With over 1,000 titles and 450 directors represented, it's a catalog that boasts an impressive breadth of cinematic masterpieces. However, a glaring oversight has been pointed out by many in the film community: the staggering lack of representation of African-American directors.

As of August 2020, a mere six films out of over 1,000 in the Criterion Collection were directed by African-Americans. This meager percentage has sparked a chorus of criticism, with many accusing the collection of perpetuating "cinema segregation in the art-house circuit," as Ava DuVernay, founder of the distribution company Array, put it.

DuVernay, a renowned director herself, has long been an advocate for greater representation of people of color and women in the film industry. She argues that the Criterion Collection's omission of African-American directors is just one example of the many barriers that exist for Black filmmakers. "There are all these gates that are closed to Black filmmakers," she says. "And Criterion is one of those gates."

Janus Films, the company that produces the Criterion Collection, has long been revered for its dedication to preserving and promoting classic and contemporary cinema. However, the company's founder, Peter Becker, acknowledges that the lack of African-American films in the collection is, in part, a reflection of his own "blind spots."

Becker recalls his initial reaction to Julie Dash's 1991 film "Daughters of the Dust," the first theatrically released film directed by an African-American woman. At the time, he didn't appreciate the film's significance and didn't consider it for inclusion in the Criterion Collection. "I didn't know what to make of it," he admits. "I was not familiar with the work of Black filmmakers."

For Haile Gerima, a Ethiopian filmmaker and educator, the Criterion Collection's lack of representation is not just a matter of cultural omission, but also a missed opportunity for historical context. Gerima points out that the collection's dearth of African-American films is a reflection of the broader systemic issues that have long plagued the film industry.

The Criterion Collection's omission of African-American directors is not just a numbers game; it's a reflection of the values and priorities of the film industry at large. As the collection continues to grow and evolve, it's essential that it acknowledges and addresses this glaring oversight. By doing so, it can work towards creating a more inclusive and representative canon that truly reflects the diversity of cinematic voices and experiences.

As the film industry grapples with issues of representation and inclusion, the Criterion Collection has a unique opportunity to lead the way. By shining a spotlight on the works of African-American directors and filmmakers, it can help to break down the barriers that have long excluded them from the mainstream. Only then can the collection truly fulfill its mission of preserving and promoting the art of cinema in all its forms.