The recent release of Bill Gunn's Personal Problems (Kino Lorber) marks a major intervention in correcting this limited history. Not much has been written about it. Nicholas Forster, a PhD student at Yale University, is writing the first biography of Bill Gunn. The few writings about Personal Problems understandably position it in an auteurist framework of Gunn's oeuvre since he has been neglected by film history. Yet the Blu-ray release of Personal Problems can also be seen as a major intervention in recovering "lost" videotapes representing an important black collective creative contribution of US grassroots videomaking.
As film and media historians like David James, Chon Noreiga, Devorah Heitner, and Cynthia A. Young have chronicled ethnic cinemas and media proliferated within the United States throughout the '60s and '70s in the wake of anti-colonial global resistance, Third Cinema endeavors, the civil rights movement, and student upheaval. The recently established Ethno-Communications Program at UCLA provides fertile terrain for the development of many skilled black filmmakers like Charles Burnett, Billy Woodberry, Julie Dash, and Haile Gerima. But even more broadly, the Black Arts Movement, the Chicano Arts Movement, the American Indian Movement, among many others, inject youth with a desire to produce new artistic forms that not only better reflected their communities, but also were more intertwined with and produced by those communities.
So when Ishmael Reed, Steve Cannon, and Joe Johnson formed a small publishing house named Reed, Cannon, and Johnson Communications Co. to publish and distribute the works by black and other underrepresented authors, they were only one among a sea of independent ventures made by those coming from communities of color to own the creative means of production that allowed for a more diverse art and literature to spread beyond the confines that traditional cultural gatekeepers allowed. As time progressed, Reed suggested creating a black meta soap opera radio play since Steven Cannon hosted a show on WBAI in New York City and Reed hosted a show on KQED in California, where it could be broadcast. According to Cannon on a Blu-ray extra, "We were dissatisfied with the kind of stuff that was coming out of Hollywood, that Blaxploitation, Super Fly and that kind of bullshit. We wanted to do something ... more authentic and more realistic in terms of middle-class black people."