By: Mary Grueser
The decolonization of the filmmaker and of films will be simultaneous acts to the extent that each contributes to collective decolonization. The battle begins without, against the enemy who attacks us, but also within, against the ideas and models of the enemy to be found inside each one of us. Destruction and construction.
-Towards a Third Cinema Manifesto, Fernando Solanas and Octavio Getino
THIRD CINEMA AND SPECT-ACTORS
The third cinema movement was deeply influenced by Frantz Fanon’s work to decolonize oppressed communities. His book, Wretched of the Earth, is considered to be a bible for revolutionary social movements. Fanon declares that in order to decolonize a country, one must first begin by decolonizing one’s own mind, along with the individual minds of a community. The concept of Third Cinema originated in the late 1960’s in unison with growing revolutionary social movements throughout Latin America, Asia and Africa. These movements were reacting to local authoritarian regimes reinforcing North American and European imperialism and hegemonic policies.
In Argentina, a violently oppressive and authoritarian state in the 1960’s, Fernando Solanas and Octavio Getino clandestinely produced a revolutionary film The Hour of the Furnaces and published an accompanying manifesto: Towards a Third Cinema. An important aspect of revolutionary or guerrilla filmmaking was distribution. The Hour of Furnaces was produced and divided into visual chapters with the intention of creating dialogue among the viewers and between the viewer and the filmmaker. Under a military dictatorship, the act of attending a screening of this film was dangerous, clandestine and revolutionary. Within this context, the line between spectator and actor becomes blurred. The very act of watching this film was a revolutionary act, immediately transforming the audience into participants.
Supporting the socialist revolution unfolding at the same time in Cuba, Julio Garcia Espinosa continues to explore breaking down the relationship between the filmmaker and the spectator. In his manifesto, Imperfect Cinema, Espinosa asks “What can be done so that the audience stops being an object and transforms itself into the subject?” The democratization of cinema was a goal of the Cuban revolution. The Cuban Government established the Cuban Institute of Cinematographic Art and Industry (ICAIC) and produced films for, by and of the Cuban people with the purpose of mobilizing and educating the masses. The Cuban film, El Elefante y La Bicicleta, crystalizes this idea as it tells the reflexive story of a small rural community who gathers together every night to watch a film about themselves and later discuss what they saw.
An important aspect of the Third Cinema movement is the democratization of media making and transforming spectators into actors. Parallel to the Third Cinema movement, the branch of independent / community media movements also emerged during the 1960’s and 70’s. From this shared ideology of media democratization and grassroots activism, several powerful community media organizations emerged and became a hub for local media making and community organizing. These films are rooted in social justice issues and serve as a tool to facilitate discussions about issues affecting the community. These community media organizations also function as a space for experienced media makers to give back to local communities by facilitating filmmaking workshops to support the cultivation of new generations of thoughtful social justice oriented media makers. Many of these organizations also offer programs to guide and support emerging media makers from the community through the production phase all the way to the distribution phase of their work. These programs ensure local, national and sometimes international distribution of the participant’s films. These films will ideally inspire others and contribute to new spect-actor transformations.
THE COMMUNITY MEDIA MOVEMENT
The media must be liberated. Must be removed from private ownership and commercial sponsorship, must be placed in the service of all humanity. We must make the media believable. We must assume conscious control over the videosphere. We must wrench the intermedia network free from the archaic and corrupt intelligence that now dominates it.
– Gene Youngblood, Radical Software
In 1996 at the British Film Institute’s African Cinema Conference, John Akomfrah, founder of the Black Audio Film Collective in the UK declared Third Cinema to be dead. This declaration was in response to recognizing that most of the original socialist revolutionary movements from the 1960’s and 1970’s associated with third cinema proper had ceased to exist. Transitioning into the 21st Century, many third cinema related social justice oriented organizations and movements have also ceased to exist. The contemporary media landscape is even more challenging for independent community-oriented media makers. Funding streams have narrowed or completely dried up and competition is fierce for what is available. Yet community media pioneers who are committed to this work for the long haul, understand that social change and progress is not linear. The original third cinema and community media movements may have waned, but contemporary third cinema informed movements and community media organizations do still exist. In 2020 there are long-standing social justice oriented community media organizations located across the United States still offering alternative grassroots approaches to media making.
How do they still exist? From a financial perspective, a key to their longevity is the diversification of private and public funding they have managed to cultivate and maintain. From a leadership perspective, each organization has maintained their own model of intergenerational learning and mentorship with a pipeline for participants to become organizational leaders.
TIME-HONORED COMMUNITY MEDIA ORGANIZATIONS STILL ACTIVE ACROSS THE UNITED STATES:
Listed below are 4 principle long-standing community media organizations located in different regions throughout The United States. These organizations have withstood multiple challenges and transitions across 6 decades and continue to be regional cornerstones for guiding and supporting local media makers to showcase social justice work; impacting their respective communities and beyond.
DCTV – New York City
Website: dctvny.org
Founded: 1972
Mission from the website: DCTV is a media arts center that fosters diverse viewpoints by providing professional training, state-of-the-industry resources, and by creating outstanding documentary productions, with the belief that diversity of expression strengthens our democracy and enhances civil society.
Grassroots Programming: DCTV offers over 150 affordable hands-on filmmaking workshops, rent accessible and affordable production equipment, multiple youth media programs (fellowships, Pro-TV, Young Women of Cinema, Young Men of Color Media Group), Docu Work-in-progress lab program for independent filmmakers.
Distribution Opportunities: A large screening / event room is available for community film screenings, panels and events to showcase independent films and community media productions. Additionally, DCTV has distribution connections with large media outlets such as PBS, HBO and Netflix that could be additional support for selected Docu Work-in-progress lab participants. (Author’s note: This approach is not aligned with third cinema but included because it has contributed to the success of this organization.)
Notable Facts: DCTV has long functioned under the dual purpose of a 501C3 nonprofit for community media initiatives and also as a production company contracting with industry partners such as HBO, PBS and Netflix.
Key to Longevity: DCTV receives fiscal sponsorship from both public and private entities.
Public funding sources include: NYC Department of Cultural Affairs, City Council, New York State Council on the Arts and the Manhattan Borough President, National Endowment for the Arts.
Private foundations include: The Rockefeller Foundation, The Pinkerton Foundation, The Altman Foundation, The MacArthur Foundation, The Kellogg Foundation.
APPALSHOP – Eastern Kentucky
Website: appalshop.org
Founded: 1969
Mission from the website: To enlist the power of education, media, theater, music and other arts to:
– document, disseminate and revitalize the lasting traditions and contemporary creativity of Appalachia;
– tell stories the commercial cultural industries don’t tell, challenging stereotypes with Appalachian
voices and visions;
– support communities’ efforts to achieve justice and equity and solve their own problems in their own ways;
– celebrate cultural diversity as a positive social value;
– participate in regional, national and global dialogue toward these ends.
Grassroots Programming: Appalachia Media Institute (Youth Media program), Community Media Initiative (media training for adults). Additional arts initiatives: radio, theater.
Distribution Opportunities: Appalshop also serves as a venue where independent films and community media is showcased for community film screenings, festivals and events.
Notable Facts: Appalshop is a longstanding regional leader in community media. They have worked to diversify their arts programming; speaking to the specific needs of the region. Over the years, Appalshop has also strategically partnered with key regional, national and international organizations to increase visibility in the region but also maintain regional autonomy over the work produced.
Key to Longevity: Appalshop is a 501C3 nonprofit that receives fiscal sponsorship from both public and private entities. However, they rely much more on private sponsorship.
Public funding sources include: Kentucky Arts Council, National Endowment for the Arts, National Endowment for the Humanities.
Private foundations include: Andrew Mellon Foundation, Marguerite Casey Foundation, Mary Reynolds Babcock Foundation, National Film Preservation Foundation, MacArthur Foundation, The Shubert Foundation, South Arts, Doris Duke Charitable Foundation, Corporation for Public Broadcasting, Doris Duke Charitable Foundation, The Educational Foundation of America.
KARTEMQUIN – Chicago
Website: kartemquin.com
Founded: 1966
Mission from the website: Kartemquin Films is a home for independent filmmakers developing documentary as a vehicle to deepen our understanding of society through everyday human drama. Focusing on people whose lives are most directly affected by social and political change and who are often overlooked or misrepresented by the media, Kartemquin’s films open up a dialogue, both in communities and between the general public and policymakers.
Grassroots Programming: Filmmaker development programs for youth and people of color, youth media programming, Kartemquin – Hulu Accelerator program for alumni from Filmmaker Development Programs.
Distribution Opportunities: KTQ Labs: Free monthly service where filmmakers present their demos and rough cuts to Kartemquin community for constructive critique. There are also limited opportunities for consulting services, association projects and fiscal sponsorship.
Notable Facts: KTQ Films has historically been proactive in community media advocacy and policy making on a local as well as a national and international level. Founder Gordon Quinn was active in conceptualizing and realizing ITVS (Independent Television Service) and has worked closely with policy makers to ensure continued government support for public access TV stations and independent community media nonprofit organizations.
Key to Longevity: KTQ films is a 501C3 nonprofit that receives fiscal sponsorship from public and private sources.
Public funding sources include: City of Chicago Department of Cultural Affairs City Arts Grant, Illinois Arts Council Agency, National Endowment for the Arts.
Private foundations include: The Chicago Community Trust, Academy of Motion Picture Arts and Sciences, The Elizabeth Morse Charitable Trust, John D. and Catherine T. MacArthur Foundation, Prince Charitable Trusts, Voqal Fund, The Seabury Foundation, The Sage Foundation, The Reva and David Logan Foundation, The Virginia Wellington Cabot Foundation.
BAVC – San Francisco
Website: bavc.org
Founded: 1976
Mission from website: BAVC inspires social change by empowering media makers to develop and share diverse stories through art, education and technology.
Grassroots Programming: MultiMedia training programs for youth and adults, accessible rental spaces and recording studio.
Distribution Opportunities: Offers a venue for community film screenings, festivals and events.
Notable Facts: Similar to DCTV, BAVC is both a 501C3 nonprofit as well as a production house that offers video services for hire, event rental space and recording studio rental. BAVC also has a unique media preservation program that sets them apart from other community media organizations.
Key to Longevity: BAVC is a 501C3 nonprofit that receives fiscal sponsorship from public and private sources.
Public funding sources include: City and County of San Francisco Office of Workforce Development, San Francisco Department of Technology, SF Department of Children, Youth and Their Families, National Endowment for the Humanities, ArtWorks.
Private foundations include: Adobe Foundation, Andrew Mellon Foundation, The Andy Warhol Foundation for Visual Arts, The Harry and Jeanette Weinberg Foundation, MacArthur Foundation, National Science Foundation, Walter and Elise Haas Fund, The William and Flora Hewlett Foundation.
NOTABLE NEW YORK CITY COMMUNITY MEDIA ORGANIZATIONS:
What can non-professional production and small audiences offer that nation-wide television can’t? Social Change.
– Deidre Boyle “Subject to Change: Guerrilla Television Revisited”
Below is a cross-borough list of NYC community media and grassroots organizations where organizing and the democratization of media distribution is central to their mission. These organizations are especially relevant for media makers living in New York City who are interested in exhibiting work with communities located in the boroughs of New York City.
THIRD WORLD NEWSREEL
Website: twn.org
Founded: 1967
Mission from website: Third World Newsreel (TWN) is an alternative media arts organization that fosters the creation, appreciation and dissemination of independent film and video by and about people of color and social justice issues. TWN promotes the self-representation of traditionally marginalized groups as well as the negotiated representation of those groups by artists who work in solidarity with them. Ultimately, whether documentary, experimental, narrative, traditional or non-traditional, the importance of the media promoted by the organization is its ability to effect social change, to encourage people to think critically about their lives and the lives of others, and to propel people into action.
Grassroots Programming: Accessible media production training programs for youth and people of color.
Distribution Opportunities: Fiscal Sponsorship, film distributor, hosts community film screening events.
Key Funding Sources:
Public: New York State Council on the Arts, New York City Dept. of Cultural Affairs, NYC Dept. of Sanitation, National Endowment for the Arts.
Private: The Open Society Institute, The Ford Foundation, New York Women in Film and TV, New York CommunityTrust, The National Film Preservation Foundation.
THE PEOPLE’S FORUM
Website: peoplesforum.org
Mission from the website: We are a movement incubator for working class and marginalized communities to build unity across historic lines of division at home and abroad. We are an accessible educational and cultural space that nurtures the next generation of visionaries and organizers who believe that through collective action a new world is possible.
Grassroots Programming: Offers workshops, cultural events and performances centered in activism and social justice.
Distribution Opportunities: Offers a venue for community film screenings.
Key Funding Sources: The People’s Forum is a 501C3 nonprofit organization. Funding sources are not listed on the website.
MAYDAY SPACE
Website: maydayspace.org
Mission from website: Mayday is both a neighborhood resource and a citywide destination for engaging programming, a home for radical thought and debate, and a welcoming gathering place for people and movements to work, learn, celebrate and build together.
As an organizing center and events space for grassroots organizations to host their fundraiser parties, leadership retreats and more, Mayday inspires and sustains a justice-oriented community that is both publicly identifiable and approachable. We are creating a new innovative model that connects to the solidarity economy, promotes a shared sense of stewardship, and attracts new individuals to social justice politics in a culturally-dynamic setting.
Grassroots Programming: Offers a collectively managed movement space for community driven workshops and events.
Distribution Opportunities: Offers a venue for community film screenings.
Key Funding Sources: The People’s Forum is a 501C3 nonprofit organization. Funding sources are not listed on the website.
BRIC
BRIC: Brooklyn Information and Culture
Website: bricartsmedia.org
Mission from website: BRIC builds Brooklyn’s creative future.
- We ADVANCE OPPORTUNITY for visual artists, performers, and media makers.
- We PRESENT BOLD WORK that reflects diverse audiences and speaks to the world.
- We IGNITE LEARNING in people of all ages.
- We UNITE BROOKLYN through art and creativity to build community and make change.
Grassroots Programming: Accessible cultural programming for residents of Brooklyn, Media production training programs for youth and adults, BRIC TV and BRIC Radio (public access programming by and for the community), Artist residencies and fellowships.
Distribution Opportunities: Offers a community venue for installations, film screenings and art exhibitions, a local public access TV network (BRIC TV) and BRIC Radio station.
Key Funding Sources:
Public: New York State Council on the Arts, New York City Dept. of Cultural Affairs, NYC Council Members, NYC Department of Youth and Community Development, Theater Subdistrict Council, Mayor’s Office for Media and Entertainment, New York State Regional Economic Development Council.
Private: Altman Foundation, Brooklyn Community Foundation, The Ford Foundation, Doris Duke Foundation for Islamic Art, Bloomberg Philanthropies, The Scherman Foundation, The Shubert Foundation.
MANHATTAN NEIGHBORHOOD NETWORK
Website: mnn.org
Mission from website: Empowering local voices and diverse views.
Established in 1992, Manhattan Neighborhood Network (MNN) is a media learning, production, and distribution hub that promotes creative expression, independent voices and community engagement.
Grassroots Programming: Provides media production training programs for youth and adults, community TV show productions and cable transmissions.
Distribution Opportunities: Offers accessible screening opportunities for independent films and community media productions on a local public access TV network.
Key Funding Sources: Manhattan Neighborhood Network is a 501C3 nonprofit organization that is privately funded. However, funding sources are not accessible on the website.
BRONXNET
Website: bronxnet.org
Mission from website: BronxNet provides hands-on television production training, equipment access and channels for Bronx residents. The vision for BronxNet came from dedicated Bronx officials, who worked with residents to create a fully equipped television station and media center that would be accessible to Bronx residents, students, community organizations and leaders. BronxNet went on air in July 1993. BronxNet has been headquartered at Lehman College since its inception.
Grassroots Programming: Offers media production training programs for youth and adults, community TV show productions and cable transmissions.
Distribution Opportunities: Offers accessible screening opportunities for independent films and community media productions on a local public access TV network, Fiscal Sponsorship program for independent filmmakers.
Key Funding Sources: Bronxnet is a 501C3 nonprofit organization supported by public funding.
Fiscal Sponsors include: NYC Cultural Affairs, Office of Bronx Borough President, Lehman College
QUEENS PUBLIC TELEVISION
Website: qptv.org
Mission from website: Since 1982, QPTV has advocated and supported media “of the people, by the people, for the people.” Queens, New York is the most diverse community in the world. Over two hundred languages and dialects are spoken here. Every race, creed, culture, religion, and political point of view can be found, not only in this community, but also on our four channels. QPTV is democracy in action: we are committed to assisting everyone in this community to exercise their First Amendment right to free expression.
Grassroots Programming: Offers media production training programs for youth and adults, community TV show productions and cable transmissions.
Distribution Opportunities: Offers accessible screening opportunities for independent films and community media productions on local public access TV network.
Key Funding Sources: Queen’s Public Television is a 501C3 nonprofit organization. However, funding sources are not accessible on the website.
STATEN ISLAND COMMUNITY TELEVISION
Website: sictv.org
Mission from website: SICTV provides comprehensive television production training for eligible community members. Eligible members are defined as Staten Island Residents or individuals affiliated with Staten Island based Not-For-Profit Organizations. Volunteers, who assume all responsibility for materials submitted for cablecast, produce programming from start to finish. Access to channel space is on a First-Come, First-Served Basis. Equipment and channel usage is free of charge to eligible community members.
Grassroots Programming: Offers media production training programs for youth and adults, community TV show productions and cable transmissions.
Distribution Opportunities: Offers accessible screening opportunities for independent films and community media productions on local public access TV network.
Key Funding Sources: Staten Island Community Television is a 501C3 nonprofit organization. It was created as a result of a franchise agreement between NYC and Staten Island Cable, now Spectrum. Funding is acquired via a quarterly payment on a per subscriber basis from both Spectrum and Verizon.
CUNY TV
Website: tv.cuny.edu
Mission from the website: The City University of New York’s television station, CUNY TV, has been educating and informing viewers for more than three decades. Established in 1985, the station has steadily increased its ambition and scope, in 2009 transitioning to high definition and adding over-the-air broadcasting to its existing cable distribution. Now reaching 7.3 million broadcast households in the New York metro area, CUNY TV is committed to extending the academic mission of the university to offer lifelong learning opportunities to all New Yorkers.
Grassroots Programming: Media production training programs for youth and adults, community TV show productions and cable transmissions
Distribution Opportunities: Offers accessible screening opportunities for independent films and community media productions on a local public access TV network and the opportunity for a spot on several shows that are broadcast.
Key Funding Sources: CUNY TV is a 501C3 nonprofit organization. Funding sources are not accessible on the website but CUNY TV is supported by City University of New York (CUNY), the largest urban university in the United States.
OVERVIEW OF COMMUNITY MEDIA ORGANIZATION SERVICES
POST- RESEARCH REFLECTION
The process of decolonizing one’s mind is a circular process of analysis, action and reflection. Paulo Freire, one of the most influential thinkers on education in the 20th Century, states in his book, Pedagogy of the Oppressed “Liberation is a praxis – the action and reflection of men and women upon their world in order to transform it.”
Originally from Brazil, Freire is world-renowned for his work in Critical Pedagogy and Liberation Theology. He provides a roadmap to awaken critical consciousness by way of transformative horizontal learning. This learning is a practice of freedom where communities engage in problem-posing dialogues as teacher-student / student-teacher; investigating generative themes and the human-world relationship.
Freirean pedagogy is a powerful tool that many revolutionary and social justice movements have incorporated across the world. Pedagogy of the Oppressed is considered to be an extension of or a response to Franz Fanon’s Wretched of the Earth. As the Third Cinema movement has evolved, it also informs other movements. The Community Media movement is one. In an effort to democratize media and generate content of, by and for local community members, community media movements incorporated Freirean pedagogy in their media education programs and approach to structuring dialogue and discussions for community film screenings. In the late 1960’s and 70’s, in tandem with international social movements, the community media movement gained momentum. Over the decades, community media organizations have served as a catalyst for social change and as a tool for advocacy and activism.
A notably unique and successful community media organization in Brazil is Video nas Aldeias (Video in the Villages) led by Vincent Carreli. Carreli and his team work with indigenous communities throughout Brazil to produce films of, by and for local indigenous communities. These films celebrate indigenous storytelling and have been screened around the world.
This is an example of how diverse and distant communities can be in dialogue with each other, working globally to decolonize mindsets. Freire explains, “dialogue is the encounter between men, mediated by the world, in order to name the world. If it is in speaking their word, that people, by naming the world, transform it, dialogue imposes itself as the way by which they achieve significance as human beings.” A powerful instrument for facilitating this dialogue is the video camera. Community media organizations are grounded in this principal.
In “Ghostlife of Third Cinema”, Glen Mimura writes that “Third Cinema defines itself fundamentally as a political project- as a democratic, participatory, socialist cinema that seeks to challenge and provoke the collective consciousness of its viewers toward the revolutionary transformation of society”. “Ghostlife of Third Cinema” highlights the important work Asian American filmmakers have produced. Their work authentically articulates the diverse Asian American experience and uniquely adds to the Third Cinema conversation. Some of this work is in collaboration with Asian American community media organizations. They work collectively to examine and reimagine diasporic identity, historical memory and representation. Mimura underscores the emmy-award winning “camcorder diary”, a.k.a. Don Bonus by Sokly Ni and Spencer Nakasako. Sokly (Don Bonus) Ni made this film during his senior year of high school as part of Spencer Nakasako’s video production workshop project at the Vietnamese Youth Development Center in San Francisco. Sokly documents his senior year of high school, candidly including his struggles in school, with friends and family life in a housing project on the outskirts of San Francisco. As he filmed, he started to see the camera as his friend. Sokly reflects “Throughout the video, I felt like the camera was part of me so if I’m crying, the camera is someone for me to open up and talk to.” Mimura notes that it is through these reflections and interactions with the camera that Sokly gains a critical perspective on his life and starts to develop agency. Sokly interviews his family questioning the causes of a burglary and playfully interrogates his English teacher about his failing grade. The camera and mentorship by Nakasako in the production of this film at the community center facilitates a transformative and liberating experience for Sokly. He enters adulthood with a greater sense of self and agency.
As viewers witness the process of Sokly’s powerful transformation in his film, there is also potential for transmitting this transformative effect to the audience. It is the human connection between the filmmaker, the film and the audience wherein lie the power of community-based media organizations. The transformative dialogues that these media organizations facilitate can foster social change. Participants and audiences alike transition from spectators to actors. As people gain a greater sense of agency, their relationship with community media organizations facilitates and supports a personal praxis of liberation.
REFERENCES
Reading List:
Boyle, Deirdre. Subject to Change: Guerrilla Television Revisited. New York, Oxford University Press, 1997.
Espinosa, Julio Garcia. For an Imperfect Cinema. First published in Spanish as “Por un cine imperfecto,” in Cine cubano 66/67 (Dec 1969). First unabridged translation into English in Jump Cut 20 (1979): 24–26. Trans. Julianne Burton-Carvajal. The copy provided is a reprint of Jumpcut version in Film Manifestos and Global Cinema Culture: A Critical Anthology, Scott MaxKenzie, Univ. Of California Press, 2014. p.220-230
Fanon, Frantz. The Wretched of the Earth. Trans. Richard Philcox with commentary by Jean-Paul Sartre and Homi K. Bhabha. Grove Press, NY, 2004.
Freire, Paulo. Pedagogy of the Oppressed. First written in 1968. This copy is from the 3rd edition, Continuum; 30th Anniversary edition (September 1, 2000).
Mimura, Glen M. Ghostlife of Third Cinema. Minneapolis, University of Minnesota Press, 2009.
Solanas, Fernando and Getino, Octavio. Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World. Argentina, 1969. First published in Spanish as “Hacia un tercer cine,” in Tricontinental (Cuba) 13 (1969). First translated into English in Afterimage (UK) 3 (1971): 16–35. This translation from Cineaste revised by Julianne Burton and Michael Chanan and published in Michael Chanan, ed., Twenty-Five Years of the New Latin American Cinema (London: BFI, 1983), 17–27. Reprinted in Film Manifestos and Global Cinema Studies, Scott MacKenzie, Univ. of California Press, 2014.
Film List:
Ny, Sokly “Don Bonus” and Nakasako, Spencer. A.K.A. Don Bonus: The Life of a Cambodian Refugee in the USA. 1995.
Solanas, Fernando and Getino, Octavio. The Hour of the Furnaces. 1968.
Tabio, Juan Carlos. The Elephant and the Bicycle. 1995.
Video in the Villages: http://www.isuma.tv/video-nas-aldeias
Websites:
www.appalshop.org
www.bavc.org
www.bricartsmedia.org
www.bronxnet.org
www.dctvny.org
www.kartemquin.com
www.maydayspace.org
www.mnn.org
www.peoplesforum.org
www.qptv.org
www.sictv.org
www.tv.cuny.edu
www.twn.org