- Born
- Height5′ 9″ (1.75 m)
- Thirty-one years ago, filmmaker Julie Dash broke racial and gender boundaries with her Sundance award-winning film (Best Cinematography) Daughters of the Dust. She became the first African American woman to have a wide theatrical release of her feature film. The Library of Congress placed Daughters of the Dust and her UCLA MFA senior thesis Illusions in the National Film Registry. These two films join a select group of American films preserved and protected as national treasures by the Librarian of Congress. Dash recently designed two rooms for the Metropolitan Museum of Art and VOGUE, In American: An Anthology of Fashion, featured at the NYC Met Gala 2022.- IMDb Mini Biography By: Julie Dash
- SpouseArthur Jafa(1983 - ?) (divorced, 1 child)
- ChildrenN'Zinga Dash
- ParentsCharles Edward Dash
- Pronounsshe/her
- She has directed two films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: Illusions (1982) and Daughters of the Dust (1991).
- From 1978 - 1980, was one of six voting members of the Classifications and Rating Administration (CARA) of the Motion Picture Association of America (MPAA). CARA is the body that provides ratings (e.g., G, PG, R) for theatrical motion pictures in the United States. Her paternal uncle, St. Julian Dash was a tenor saxophonist with Erskine Hawkins' band (1930s - 1950s) and also a composer.
- 2003 DGA Nomination for Outstanding Directorial Achievement, Movies for Television: The Rosa Parks Story.
- Has one daughter.
- She is a member of Alpha Kappa Alpha Sorority, Inc.
- [on being invited to join AMPAS, after her original application, 25 years ago, was ignored] I'm hopeful. There are still a lot of people waiting at the gate, but things are moving forward. [Oct. 2016]
- [why she couldn't make another feature film after Daughters of the Dust (1991)] I'd written many, many additional screenplays and pitched ideas and optioned screenplays - all of those wonderful things that one does after making a film that clearly had a wide audience. It didn't happen for me. There's no reason given, but of course it's race and gender. Gender plays a huge part in all of this. I did not fit into the mould. [Oct. 2016]
- [on Hollywood's takeover of independent cinema and Black Cinema in the 90s] It became a commodity that could be co-opted by the larger industry. We broke through, and once the curators of culture recognised that we were actively making films in our own way, it suddenly just slowed down to a halt. Funding ran out for pretty much everyone. [Oct. 2016]
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