Jamaa Fanaka was born Walter Gordon in Jackson, Mississippi; he discovered a love of filmmaking when his parents gave him a 8mm camera at age 11. The following year, his family moved to the Los Angeles neighborhood of Compton.
After four years in the Air Force, he entered the UCLA School of Theater, Film and Television, where he changed his name to Jamaa Fanaka (based on Swahili words meaning “together we will find success”). A highly resourceful student, Fanaka pursued and received competitive grants that helped him achieve the singular distinction of writing, producing, directing and getting theatrical distribution for three features — Welcome Home, Brother Charles (1975), Emma Mae (1976) and Penitentiary (1979) — while still enrolled in the program. Penitentiary became the highest grossing independent film of 1979, and two sequels followed in 1982 and 1987. He completed Street Wars in 1992.
Fanaka was founder of the Director Guild of America’s African American steering committee in 1994, where he accused the industry of discriminatory employment practices toward women and minorities. A series of lawsuits between the DGA and the filmmaker resulted in their mutual separation, but Fanaka credits the controversy for later improvements in Hollywood’s hiring practices.
In 2008, Turner Classic Movies spotlighted Fanaka’s work and hosted the television premieres of Emma Mae and Penitentiary in their original aspect ratios.
Fanaka died in Los Angeles in 2012.
Film | Role(s) | Year | |
---|---|---|---|
A Day in the Life of Willie Faust, or Death on the Installment Plan Jamaa Fanaka’s first project is an adaption of Goethe’s Faust, superimposed over a remake of Super Fly. A morality tale in two reels. |
Director Producer Writer Editor Cast |
1972 | |
Welcome Home, Brother Charles Marketed as a Blaxploitation film, Welcome Home, Brother Charles subversively co-opts genre conventions to examine plantation-born racial myths surrounding Black male sexuality and white fears. On its surface a revenge tale of an African American man framed by the white establishment, the film reveals unexpected levels of surrealism and social commentary thanks to Jamaa Fanaka’s use of symbolism and subtext. |
Director Producer Writer Editor |
1975 | |
Emma Mae In Jamaa Fanaka's second feature, Emma Mae arrives in Los Angeles from Mississippi replete with rough edges and an exceptional ability to kick ass. Emma Mae’s plain looks and shy demeanor set her apart from supermama heroines of this “Blaxploitation” era (e.g., Foxy Brown, Cleopatra Jones). But when folks underestimate her, Emma Mae surprises everyone, including her no-good boyfriend Jesse, with her extraordinary physical and emotional strength. |
Director Producer Writer |
1976 | |
Penitentiary Framed for the murder of a white biker, Martel “Too Sweet” Gordone learns to box his way to freedom in prison. Jamaa Fanaka's Penitentiary allegorizes African-American life, seeing the prison system as an arena of violent struggle against forces both external and internal that plays out on the bodies of the inmates. |
Director Producer Writer |
1979 | |
Penitentiary 2 Jamaa Fanaka continues the boxing saga of “Too Sweet” Gordone. Paroled after serving time for a murder he didn’t commit, prison boxing champ Too Sweet hangs up his gloves, moves in with his sister’s family, and rekindles his romance with Clarisse. He soon learns that life of the outside isn’t much easier than it was in prison, when “Half Dead” Johnson escapes from prison and murders Clarisse. Though the loss of Clarisse is almost too much to bear, Too Sweet, with the help of his new trainer (Mr. T), returns to the fight game and begins his rise to the top. |
Director Producer Writer |
1982 |
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