...Miriam J. Petty; Tope Fadiran This conversation with the Billops-Hatch Advisory Board for Emory University’s Rose Library was convened by board member Miriam J. Petty. It provides insight into the far-ranging community that James Hatch and Camille Billops cultivated in their forty+ years of making...

... abolitionism, and I ultimately argue that they offer a dexterous display of Billops and Hatch’s queer hospitality. Figure 1. Three generations. Screenshot from Suzanne, Suzanne (dir. Camille Billops and James V. Hatch), 1982. Courtesy of Third World Newsreel. Figure 2. Making up Suzanne...

...Joshua Chambers-Letson Camille Billops and James Hatch’s documentary The KKK Boutique Ain’t Just Rednecks is an allegorical descent through the hell of US American racism, making use of Dante Alighieri’s classic poem from the Italian Renaissance Inferno as its narrative blueprint. This essay brings...

...Michele Prettyman This essay “Woman, Alone? Camille Billops, Self-Possession, and Older Women and Love (1987)” focuses on the unique dynamics in the personal and professional relationship between Camille Billops and James V. Hatch. It maps the complexities of Billops’s selfhood, which she pursued...

...Ruth Feldstein This essay considers Camille Billops and perhaps her most famous film, Finding Christa (1991), in relation to other Black women filmmakers. Like Billops, Alile Sharon Larkin, one of the first Black women associated with the filmmakers based at UCLA who became known as the LA...