The world of documentary filmmaking recently mourned Joel DeMott, a visionary artist whose uncompromising pursuit of truth profoundly shaped the cinéma vérité movement. Ms. DeMott, who died on June 13 at a hospital in Montgomery, Ala., was 78. Her cause of death was chronic obstructive pulmonary disease, confirmed by her cinematic partner, Jeff Kreines, with whom she collaborated on many projects, including her most renowned work.
Ms. DeMott’s legacy is inextricably linked with “Seventeen.” This documentary, though recognized as a major work of cinéma vérité, faced a highly publicized rejection from public television in 1982. This incident cast a long shadow over her career but also highlighted her unwavering commitment to presenting unvarnished reality, irrespective of commercial or societal pressures. Her story remains a critical case study in the tension between artistic independence and corporate influence in media.
Her unique approach to capturing life on film, characterized by unnerving intimacy and deep respect for her subjects’ complexity, set her apart. The controversy surrounding “Seventeen” — a film pulled from a national series under pressure from its sponsor — illuminated media vulnerabilities that persist. This article will delve into the critical aspects of this seminal film and the formidable filmmaker behind it.
1. **The Rejection of “Seventeen” by PBS**In 1982, Joel DeMott and Jeff Kreines completed “Seventeen,” intended as the final episode of “Middletown,” a six-part PBS series on American life in Muncie, Indiana. However, the film’s raw depiction of adolescent life proved too challenging for PBS and its sponsor, Xerox. Mr. Kreines recalled that Xerox withdrew its support after viewing merely a three-minute trailer, signaling discomfort with the film’s unfiltered content.
Ms. DeMott explicitly stated that Xerox “wanted to identify itself only with ‘classy’ programming,” where “all observable behavior abides by one standard — that of white gentility.” This demand for conformity and sanitization led to the film’s removal. Peter Davis, the producer of “Middletown,” ultimately withdrew “Seventeen” from the series, citing pressure from Xerox, parents of some teenagers, and the local public TV station.
As Mr. Davis told The Los Angeles Times, the outcome was a profound loss for all involved: “Everybody has lost. The people in Muncie and the participants have lost, we on the ‘Middletown’ project have lost, PBS has lost and, most of all, the TV viewing public has lost.” This sentiment underscored the broader implications of the decision, lamenting the missed opportunity for wider public engagement with such an authentic work.
2. **“Seventeen”: A Deep Dive into Working-Class Adolescence**“Seventeen” offered an intensely intimate and unflinching look into the lives of high school seniors from working-class families in Muncie, Indiana, during the 1980-81 academic year. The film captured their messy realities, moving swiftly and without narration through various settings, including students’ homes, a lively kegger, cars, and basketball games. It provided a raw, unfiltered window into a period of profound transition and struggle for these young individuals, portraying a slice of American youth rarely seen on mainstream television.
A central narrative thread within the film follows Lynn Massie, a brash white teenager, whose relationship with a Black classmate led to a cross being burned on her lawn. This depiction of interracial romance, alongside other candid moments of teenage behavior like smoking dope, getting drunk, and sassing teachers, contributed significantly to the film’s controversial nature.
Ms. DeMott articulated her philosophical approach to the film, stating, “We respected the kids’ complexity, celebrated their liveliness, despaired of their future. And we loved them dearly. But it was impossible to oblige America’s notion that to be worthy film subjects, the working class must be saint-like.” This quote encapsulates their dedication to authentic portrayal, pushing back against societal expectations for sanitized representations.
3. **The Uncompromising Vision: Refusal to Censor**The fundamental reason behind “Seventeen”’s rejection stemmed directly from Joel DeMott and Jeff Kreines’s unyielding refusal to compromise their artistic integrity. Faced with explicit demands to cut segments depicting interracial romance, and to bleep out an astonishing 238 instances of “obscene words,” the filmmakers stood firm, refusing any alterations.
Their commitment to presenting the students’ lives authentically, without sanitization or self-censorship, put them at odds with the commercial and ideological expectations of PBS and Xerox. For DeMott and Kreines, altering the film would have constituted a profound betrayal of the very subjects they had documented. Their principled refusal underscored their belief that “culture is about the rules; Art is about breaking them,” and that integrity was paramount.
This incident highlighted a core tension in documentary filmmaking: the delicate balance between unflinching realism and external pressures, particularly from financial sponsors. DeMott and Kreines’s resolve ensured that despite powerful forces, they would not allow their work to become a “broken version” of what they had originally made.
4. **DeMott’s Fiery Rebuttal: Excoriating PBS and Xerox**Enraged by the controversial withdrawal of “Seventeen” from the “Middletown” series, Joel DeMott responded with a powerful, 25-page, single-spaced typewritten statement. This document served as her direct condemnation of PBS and Xerox, strategically distributed to critics in cities where the film was subsequently shown in theaters.
Her scathing critique offered a sharp analysis of corporate influence on public media. Ms. DeMott famously wrote, “Xerox wanted to identify itself only with ‘classy’ programming,” asserting that the corporation sought to enforce a standard of “white gentility” in all observable behavior. She further accused Lawrence K. Grossman, then president of PBS, for failing to defend any aspect of “Seventeen,” even privately.
This forceful public denunciation was a hallmark of DeMott’s character, underscoring her conviction that powerful institutions were actively suppressing authentic narratives for commercial and ideological reasons. Her statement not only defended her film but also served as an important critique of the media landscape of the early 1980s, resonating with broader concerns about editorial independence.
5. **The Cinéma Vérité Approach of DeMott and Kreines**Joel DeMott and Jeff Kreines deeply committed to cinéma vérité, a rigorous filmmaking style aiming to capture objective reality with minimal overt intervention. Their distinct method for “Seventeen” involved shooting at “extremely close range,” a deliberate choice profoundly increasing intimacy and blurring lines between observer and observed. Mr. Kreines articulated their philosophy: “We’re not flies on the wall. We hate that way of thinking, which is why we shot so close to people in the film.”
Their commitment to intimacy meant abandoning invisibility. Ms. DeMott typically filmed from one and a half to three feet from people, while Mr. Kreines maintained two to four feet, ensuring subjects were acutely aware of their presence. This proximity fostered extraordinary trust and candidness, allowing for unguarded moments. Mr. Kreines’s remark, “They knew what we smelled like,” powerfully conveys the profound immersion they cultivated. This method ensured their films “came through anywhere” due to inherent realism.
This radical approach stood in stark contrast to conventional notions of journalistic objectivity, embracing a transparent, engaged presence that allowed for uniquely authentic portrayals. This method, as much as content, made “Seventeen” a pioneering work, pushing boundaries of documentary filmmaking for human connection and raw honesty.
6. **“Seventeen”’s Critical Acclaim and Recognition**Despite its initial rejection, “Seventeen” quickly established itself as a major work of cinéma vérité, earning significant critical acclaim. Critics lauded its raw authenticity, emotional depth, and innovative technique, placing it alongside seminal works by pioneering documentarians such as Richard Leacock, D.A. Pennebaker, and Frederick Wiseman. Its artistic merit was undeniable, even as its uncompromising content proved challenging for broadcasters.
Prominent film critics championed the film. Dave Kehr, writing in The Chicago Reader, praised its “emotional center unlike anything in Wiseman.” Vincent Canby of The New York Times, in 1985, hailed “Seventeen” as “one of the best and most scarifying reports on American life to be seen on a theater screen since the Maysles brothers’ ‘Salesman’ and ‘Gimme Shelter,’” equating its significance to other monumental documentaries.
Further solidifying its prestigious status, a distinguished panel comprising Mr. Pennebaker, Mr. Wiseman, and Barbara Kopple awarded “Seventeen” the grand jury prize for documentaries at the 1985 Sundance Film Festival. Johnny Ray Huston, writing in SF360.org in 2006, proclaimed “Seventeen” as “without a doubt one of the greatest movies, perhaps the greatest, about teenage life (not to mention American life) ever made,” cementing its place as a timeless classic.
7. **The Post-Rejection Odyssey: Touring and Rescue**Following the controversial withdrawal of “Seventeen” from the PBS series, Joel DeMott and Jeff Kreines were left with a powerful film and a damaged reputation. Rather than abandon their work, they embarked on an extensive, self-funded tour to ensure the film reached audiences directly. For three or four arduous years, they tirelessly traveled across the country, showing the documentary at universities, museums, art-house theaters, and film festivals.
This tireless effort was driven by a profound sense of responsibility to their subjects and a fierce determination to counteract the negative narrative created by the PBS rejection. Mr. Kreines explicitly stated their motivation: “We felt we had to rescue the film’s reputation. It took a lot out of us.” Their unwavering commitment saw them journey as far as Australia, demonstrating the immense personal and professional toll of their fight for the film’s integrity and public visibility.
Their dedication ensured that a vital piece of American social commentary would not be lost to obscurity. This period of relentless independent promotion transformed their experience into a prolonged battle for artistic freedom and recognition against institutional power.
Having explored the monumental impact and controversy surrounding “Seventeen,” our journey now shifts to encompass the wider arc of Joel DeMott’s remarkable career. Her singular vision, forged early in her life, extended beyond this one pivotal film, influencing her distinctive approach to documentary filmmaking and leaving an indelible mark on the art form. This section will delve into her formative years, the evolution of her craft, other significant works, and the lasting legacy of her unwavering commitment to authentic storytelling in the face of commercial pressures and evolving media landscapes.
8. **Joel DeMott’s Early Life and Formative Influences**Joel Hayward DeMott was born on April 22, 1947, in Washington, D.C., and spent her formative years growing up in Amherst, Mass. Her intellectual upbringing was significantly shaped by her parents: her father, Benjamin, was a distinguished writer, cultural critic, and professor of humanities at Amherst College, while her mother, Margaret (Craig) DeMott, managed the household. Ms. DeMott’s first name, Joel, was notably inspired by the character Jo March in Louisa May Alcott’s beloved novel “Little Women,” which was a cherished book of her mother’s during her childhood.
Ms. DeMott displayed precocious traits from a young age, often finding conventional schooling a “drag,” though she reportedly excelled in Latin. Her intelligence allowed her to skip Junior High School, enabling her to attend Radcliffe College by the age of sixteen. There, she pursued a bachelor’s degree in English, graduating in 1967, which she described as an “unspectacular academic career,” despite the vibrant intellectual environment of Cambridge in the 1960s. During this time, she cultivated her early interests in storytelling by directing plays and contributing film and theater reviews to The Crimson, showcasing a nascent critical eye that would define her later work.
In the years immediately following her graduation, Ms. DeMott engaged in a variety of jobs that provided a broad exposure to different facets of American life. Her roles included working as a copy girl and news assistant for Seymour Peck, then the editor of The New York Times’s Arts & Leisure section. She also gained experience as a high school teacher, a factory worker, a chambermaid, and an assistant at the Museum of Fine Arts Boston, each position contributing to her nuanced understanding of diverse social strata and human experience—a perspective that would later inform the profound realism of her documentaries.
9. **Forging a Path: Discovering Filmmaking and the ‘One-Person Sync Rig’**Ms. DeMott ultimately found her true calling in 1972, when she enrolled in classes at the Massachusetts Institute of Technology (M.I.T.) taught by pioneering direct cinema filmmakers Richard Leacock and Ed Pincus. It was during this period, specifically in the M.I.T. equipment room, that she first encountered Jeff Kreines, who would become her life and cinematic partner. Their collaboration quickly proved fruitful, as they embarked on a shared journey to redefine documentary filmmaking, prioritizing intimacy and unmediated truth.
Together, Ms. DeMott and Mr. Kreines innovated what they termed a “one-person sync rig.” This groundbreaking device was a unique camera-tape recorder combination designed to be operated by a single filmmaker. The inherent beauty of this rig, as described by Ms. DeMott, was its ability to transform the filmmaker “from Technical Monster—that’s how he appeared to people, so he pretended he wasn’t there at all—back into a human being; acknowledged as a presence, responding autonomously.” This technological advancement was not merely a convenience; it was a philosophical statement, enabling an unparalleled level of personal engagement with their subjects.
The development of this portable, intuitive system was pivotal to their distinctive cinéma vérité approach, which they characterized by the simple yet radical method of “hang out and shoot and be yourself.” This technique allowed for an extraordinary “free-flowing intimacy with the teenagers’ world” in films like “Seventeen,” ensuring that their subjects were not alienated by a large crew or cumbersome equipment. Instead, the filmmakers became an acknowledged, yet unobtrusive, presence, fostering the candidness and unguarded moments that became the hallmark of their authentic portrayals.
10. **Early Collaborative Works: “Vince and Mary Ann Get Married”**Following the successful development of their innovative “one-person sync rig,” Joel DeMott and Jeff Kreines wasted no time in applying their new methodology to their first documentary collaboration. This initial project, titled “Vince and Mary Ann Get Married,” focused on the wedding of the daughter of a junior Mafioso in Cicero, Illinois. This choice of subject matter immediately signaled their willingness to delve into lives and environments often overlooked or sensationalized by conventional media.
The making of “Vince and Mary Ann Get Married” vividly demonstrated their commitment to immersive filmmaking. Mr. Kreines recounted a telling anecdote, stating, “Jo bought this horrible dress just to shoot in,” underscoring their dedication to blending seamlessly into the environment they were documenting. This practical and unglamorous approach was integral to their belief in capturing reality without imposing artificiality or the performative awareness that often accompanies traditional film crews.
This early work established a crucial precedent for their subsequent projects, showcasing their ability to cultivate profound trust with their subjects and to capture genuine, unguarded moments. It underscored their dedication to an unfiltered portrayal of life, laying the groundwork for the unnerving intimacy and raw honesty that would become synonymous with their collaborative output and distinguish their contributions to the cinéma vérité movement.
11. **An Unconventional Career Path and Unfinished Works**Despite the critical acclaim for both “Demon Lover Diary” and the later recognition of “Seventeen,” Joel DeMott’s career, contrary to what might be expected, did not experience a conventional “soar” in the mainstream film industry. This trajectory was partly a consequence of the “Seventeen” controversy, which cast a “disrespectable taint” on her work in some circles, and partly a reflection of her unwavering commitment to an independent artistic vision that often clashed with commercial demands.
Throughout the 1970s and 1980s, Ms. DeMott and Mr. Kreines worked on several other films, many of which await editing and completion, a testament to their continuous creative output. One notable project, “Goldbug Street,” shot in 1976 and focusing on a Black family in Montgomery, Alabama, is slated for release in 2027, indicating a continued interest in bringing her work to light. Rather than chasing commercial success, the partners found alternative ways to sustain themselves and their art.
Their methods of self-support included Ms. DeMott assisting her father with research for three books, and both she and Mr. Kreines collecting outsider art. They also contributed their expertise by helping to shoot some of legendary documentarian D.A. Pennebaker’s films. Mr. Kreines, in a particularly innovative turn, invented and manufactured the Kinetta Archival Scanner, a device now used by film archives for movie restoration. This pragmatic approach allowed them to uphold their artistic integrity, as Mr. Kreines affirmed: “We only made films we really wanted to make, and found other ways to support ourselves.”
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13. **The Enduring Legacy of Authenticity and Artistic Integrity**Joel DeMott’s legacy is profoundly marked by her unyielding dedication to authenticity and artistic integrity, an approach that her brother noted made her “unassimilable” to the mainstream art world. She and Mr. Kreines fiercely resisted any form of artifice, defining their maverick stance with self-imposed “verbotens” like “never interview, never ask anyone to do (or repeat) anything, never ask people what their plans are, never turn on the lights, never show up without your cameras.” This rigorous commitment ensured that their films captured life as it unfolded, without manipulation or staged moments.
Her innate “instinct for the actual” was a defining characteristic, a “nose for the real” that enabled her to discern genuine human experience from mere performance. She famously dismissed Quentin Tarantino’s “Reservoir Dogs” as a “stagey piece of shit,” illustrating her deep-seated aversion to anything she perceived as inauthentic or contrived. For DeMott, “Culture is about the rules; Art is about breaking them,” a philosophy that guided her uncompromising approach to filmmaking and her relentless pursuit of unvarnished truth.
This dedication to integrity extended beyond her filmmaking; it was integral to her personal ethos. Her films, despite being shot at “extremely close range,” never felt invasive because they fostered a profound trust and connection with their subjects, creating a transparent, engaged presence. The palpable realism in works like “Demon Lover Diary” meant that her films “came through anywhere,” resonating with diverse audiences, from film students to “ladies in fur hats” at museum screenings, all of whom recognized the undeniable veracity of her work.
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14. **Impact on Documentary Film and Future Generations**Joel DeMott’s work, particularly her contribution to the cinéma vérité movement, has left an indelible mark on documentary filmmaking. Her and Jeff Kreines’s body of work is recognized within the lineage of direct cinema, influencing subsequent generations of documentarians. Critics consistently placed “Seventeen” alongside seminal works by pioneers like Richard Leacock, D.A. Pennebaker, and Frederick Wiseman, underscoring its significant artistic merit and groundbreaking technique.
Beyond the film world, DeMott’s dedication to depicting the unfiltered realities of American life remains profoundly relevant, especially in a media landscape increasingly influenced by corporate interests and algorithmic curation. Her films serve as enduring reminders of the importance of independent narratives and the potential for commercial pressures to sanitize or suppress authentic stories, particularly concerning sensitive topics like youth culture and social issues. The questions her work raised about editorial independence and censorship in the early 1980s continue to resonate today, amplified by new digital platforms.
Ultimately, Ms. DeMott’s authentic approach, characterized by her “near views” and deep empathy for her subjects, offers invaluable lessons for media literacy and critical engagement. Her ability to capture the raw emotional zig-zags and complexities of human experience, even in challenging social contexts, continues to inspire filmmakers and audiences to seek out and defend diverse, unvarnished perspectives. Her legacy is a powerful testament to the enduring power of art that breaks the rules to illuminate the profound and often messy reality of being human.
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Joel DeMott’s life and work serve as a potent reminder that true artistry often resides not in the pursuit of acclaim or commercial success, but in the unwavering commitment to an authentic vision. Her courage to challenge conventions, confront corporate pressures, and portray life with startling honesty cemented her place as a visionary filmmaker. Her spirit, forever etched in the frames of her films, continues to speak to the enduring quest for truth in a world constantly shaping and reshaping its narratives.
