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  Home : Canal Street : KEIKO TSUNO  
 
Keiko Tsuno A longtime resident of Canal Street, Keiko Tsuno is co-founder and co-director of Downtown Community Television Center, the largest community media center in the United States. She has produced numerous documentaries for PBS. Her work includes THE STORY OF VINH (1991), which won a CINE Golden Eagle Award and a "Work of Special Distinction" award at the Tokyo Video Festival; INVISIBLE CITIZENS: JAPANESE-AMERICANS (1985), which was nominated for Best Documentary for the Monitor Award; THIRD AVENUE -- ONLY THE STRONG SURVIVE (1980), which won a national Emmy Award for Best Editing and the Grand Prix at the Tokyo Video Festival; and CHINATOWN -- IMMIGRANTS IN AMERICA (1976), which won the Columbia duPont Citation, the Christopher Award, and the INDIE Award. Her specials HEALTHCARE -- YOUR MONEY OR YOUR LIFE (1977) and CUBA -- THE PEOPLE (1974) were each called "one of the year's ten best programs" by the New York TIMES.

Questionnaires were sent to each artist participating in REEL NEW YORK -- Season Four. Below are the artist's written responses.

    Keiko Tsuno  
reel  Canal Street
 
What inspired you to make this piece?

I started my life in the United States living in a loft on Canal Street. I've been living in the neighborhood for 30 years. This is the most vibrant, dirty, and exiting street in New York City.

Canal Street
 From CANAL STREET.
Tell us a little about the process involved in making this work.

My co-producer, Peter Kwong, is an expert on Chinese Immigration History and the Labor Movement in Chinatown. Both of us walked Canal Street and checked every building and took notes. We picked topics and sent Chinese-, Spanish-, Portuguese-, and Korean-speaking researchers to the street.

Canal Street
 From CANAL STREET.
Do you have any interesting and/or amusing behind-the-scenes stories about the making of this particular work?

We went to sweatshops in Chinatown. I shot scenes with a hidden camera. The working conditions in the sweatshops are far worse than the standards in the U.S. Many immigrants' living conditions in Chinatown are also sub-standard.

Is there a relationship between your work as a video/filmmaker and life in the New York metropolitan area?

I always choose subjects from my own environment, neighborhood, or experiences as an immigrant.

How has the burgeoning independent movement affected your life and work as a video/filmmaker?

Not at all. I started video-making before the movement started.

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