MEMPHIS, TN, October 06, 2026 /24-7PressRelease/ — Please be aware that this story is not just a news release, but instead, this document is a “Historical Dossier.” We via documentation prove that the Memphis Shelby Film Commission is built, designed and implemented via a practice and culture of White Supremacy, Racism and Black on Black racism and Black exclusion. If you are looking for a quick read this “Dossier” is not for you.
Learn more click here to visit our website: Memphis Film Commission Racism . Com
This story is about as close to Dr. Martin Luther Jr. and the Civil right movement than any documented film in American History, whereas “The Memphis Shelby County Film Commission is built via a culture of “Black Exclusion.”
In 1988 Memphis born 5-Time World Kickboxing Champion Anthony “Amp” Elmore wrote, produced, directed, scored and starred in a biopic about his life in a movie titled “The Contemporary Gladiator.” The Contemporary Gladiator is not only the 1st independent 35mm Theatrical Film in Memphis Film History, “The Contemporary Gladiator is the 1st Kickboxing Film in World Film history and the film is “A Black Heritage Asset.”
In 1988 U.S. Congress established “The National Film Registry.” The National Film Preservation Act was created to preserve culturally, historically, or aesthetically significant American films. Films are choose because of their cultural significance to American history and culture.
We prove in this “Dossier” that White Memphis Shelby County Film Commission Linn Sitler used tax dollars and her function and authority to deny Black Films and Black Filmmakers and deny and include “A Black Film Culture in Memphis.”
In 1982 a group of Film students at then Memphis State college produced a made for television movie titled: “I was a Zombie for the FBI.” What is not told about the film is that it was shot on 3/4 inch video and not film and never shown in a single theatre in the world. The film was a college project and never was an “Independent 35mm Theatrical Film release however these students were touted as heroes whereas the director Marius Penczner was coined in Memphis as brilliant.
In 1985 the University of Memphis professor Steve Ross produced a 16mm Film titled “The Old Forrest” Whereas the film made it to PBS whereas it was never a Theatrical 35mm Film Release.
Anthony “Amp” Elmore whom had never walked on a “Film Set” wrote, produced directed, scored and starred in Memphis 1st 35mm Theatrical film titled “The Contemporary Gladiator.” In 1987 while shooting scenes at Raiford’s disco on Vance. Both Memphis State Professors and film teachers at the University of Memphis Steve Ross and David Appleby had film student assists at the film set at Raiford’s disco on Vance Avenue to get first hand experience of 35mm Filmmaking in Memphis.
In 1929 a few scenes was shot in Memphis for the Black Musical Film titled “Hallelujah” produced by Metro- Goldwyn-Mayor. In 1984 a film was made at Rhodes College titled: “Making The Grade.” Distributed by Cannon Films.
Memphis Shelby County Film Commissioner Linn Sitler made sure that it remains unknown and untold in Memphis Film history Anthony “Amp” Elmore became third person in Memphis history to produce a 35mm Theatrical Film. Imagine how historic it was in 1987 for an Independent 35mm Film production to take place in Memphis, Tennessee whereas Linn Sitler was Memphis Tax Funded Memphis Shelby County Film, tape and music Commissioner did not use her function and authority to announce the film or for once visited the “Black Film Set” or have Memphis media to report on this story as it was being produced starting in 1987 as reported by the L.A. Times November 22, 1987.
In an early scene in the movie Anthony “Amp” Elmore shot the Bevel scene at the University of Memphis Class of Dr. David Acey who played Civil right leader James Bevel. Via this scene Elmore attends a Black Civil Rights rally headed by one who is identified in the rally as “Rev.” The actual Rev. in the movie is Rev. James Bevel.
Rev. James Bevel was not an ordinary movement preacher. Within the Southern Christian Leadership Conference (SCLC), he was Dr. Martin Luther King Jr.’s chief strategist and Director of Direct Action. Click here to see video titled: First Kickboxing Film The Contemporary Gladiator is Connected to James Bevel & Civil Rights Movement
The true life story of Anthony “Amp” Elmore is in real life Elmore quit college to join the Civil Rights struggle under the leadership of Rev. James Bevel. The Children’s Crusade (Birmingham, 1963): When adults could not march for fear of losing their jobs, it was Rev. James Bevel who conceived and organized having school-age youth march, forcing the federal government to intervene. White Sherriff Bull Conner used water hoses and dogs on Black School Children. President John F. Kennedy sent federal troop to Alabama.
The Selma-to-Montgomery March (1965): Rev. James Bevel initiated and organized the Selma movement after the murder of Jimmie Lee Jackson, which led directly to the passage of the 1965 Voting Rights Act. Dr. King acknowledged that the entire tactical concept of the Selma march came from Rev. James Bevel. April 4, 1968, in Memphis: Bevel was with Dr. King at the Lorraine Motel the day King was assassinated. When White Memphis Film Commissioner Linn Sitler erased “The Contemporary Gladiator “ she erased a part of American history and a vital discussion in American history.
A Hollywood film is fiction however a biopic is actual American history whereas the Memphis film “The Contemporary Gladiator” is actual American history. Anthony “Amp” Elmore asked David Acey the retired Black history professor at the University of Memphis who also attended Bevel meetings, Elmore asked Dr. Acey to speak up. Dr. Acey told Anthony “Amp” Elmore: “If i speak up, the City of Memphis will stop funding “Africa in April” celebration.
It was not until 2014 that the movie “Selma” emerged via Black Female Director Ava DuVernay. The film was nominated for an academy award. One of the producers of the film was Oprah Winfrey.
26 years before the movie Selma Anthony “Amp” Elmore movie scene of “Rev.” was actually Rev. James Bevel in his 1988 film Release “The Contemporary Gladiator.” When Ava DuVernay was born in 1972 Anthony “Amp” Elmore quit college to join with Rev. James Bevel whereas Anthony “Amp” Elmore put his Bevel story in the 1988 Film Release “The Contemporary Gladiator.”
There exists a culture and practice in Memphis, Tennessee is to erase any positive story about Blacks in Memphis. In the above video it is noted that Blacks could not enter the front door of the Malco Theatre in downtown Memphis until 1962. In regards to “Black Memphis History” Anthony “Amp” Elmore shattered racial barriers whereas he is not only the 1st Memphian to premier a Memphis produced Independent 35mm film at the Malco Theatres in Memphis, Anthony “Amp” Elmore in 1988 set in the Malco Highland Quartet with Steve Lightman owner of the Malco Theatres to screen his 1988 Elmore Film “The Contemporary Gladiator.”
Anthony “Amp” Elmore explains that for a Black man who watched the “Ten Commandments Movie” at a segregated Malco Theatre (Now Orpheum theatre) Down Town in Memphis and later sit with the owner of the Malco Theatres is a story that should be told to future generations. Anthony “Amp” Elmore explains I set in that theatre with Malco Owner Steve Lightman screening my movie. Mr. Lightman was amazed. No Memphian in the film history had accomplished the amazing feat of producing an Independent 35mm theatrical Film. Mr. Lightman and the Malco Theatres gave Anthony “Amp” Elmore to show his movie at Malco Theatres. Unknown and untold today in 2026 the Malco Theatre offers opportunity to screen a film.
In 2019 while Linn Sitler would not allow Anthony “Amp” Elmore’s historic film 200 Years of Black Memphis history to be a part of Memphis Bicentennial Celebration Elmore rented the Malco Theatre and Showed the movie. The 1st movie that chronicled Black Memphis History.
It was in 1988 whereas Anthony “Amp” Elmore remembers the Malco’s Southwest twin drive in Marquee that read: “The Contemporary Gladiator & Coming to America.” Anthony “Amp” Elmore was on the screen with Eddie Murphy “Coming to America in 1988. Anthony “Amp” Elmore gained a close relationship with theatre owner Ambarish Keshani who owned the then Fare Four theatre on Summer Ave. Elmore’s Film played at the Fare Four Theatre on Summer Ave and the U.A. Southbrook Theatre in Whitehaven.
In 1988 Anthony “Amp” Elmore experience his greatest fear whereas the fear was the “White Media” would destroy his movie. The role of the Memphis Shelby County Film Commission was to support filmmaking in Memphis whereas Anthony “Amp” Elmore explains Linn Sitler set him up. The Film Commission’s role was to support Memphis filmmaking whereas Linn Sitler along with Memphis Commercial Appeal prominent art, entertainment and move critic Donald Labadie set Elmore up. LaBadie explained to Elmore he understood about Filmmaking and would assist. Elmore allowed Labadie to see the film.
LaBadie condemned Elmore as a failure whereas the Commercial Appeal Newspaper performed a strategized “Hit Job.” In Memphis no one had ever written, produced, directed, scored and got an Independent 35mm Theatrical Film to a movie Theatre in Memphis whereas the headline in the Commercial Appeal “Film a failure lose fight.”
Linn Sitler head of the Memphis Shelby County Film and tape commission used her function and authority to allow Anthony “Amp” Elmore film history die in Memphis. Whereas in 39 years of knowing Linn Sitler and the Shelby County Film Commissin has never invited Anthony “Amp” Elmore to anything film related in Memphis although Anthony “Amp” Elmore was her 1st Client in 1987.
As the official head of the Memphis Shelby County Film Commission for decades, Linn Sitler’s office held the power to distribute resources, confer official historical markers, direct press attention, and archive regional film achievements. By choosing what to spotlight and what to ignore, Linn Sitler effectively engineered an administrative blind spot around the grassroots, self-financed Independent 35mm Theatrical Film “The Contemporary Gladiator.”
When Anthony “Amp” Elmore premiered The Contemporary Gladiator in August 1988, he did far more than roll out an independent motion picture—he etched an indelible historical milestone into American cinematic and cultural history. Operating entirely outside the traditional Hollywood studio machinery, Elmore achieved what few independent filmmakers had ever dared: he wrote, produced, directed, scored, and starred in an Independent full-length, 35mm feature film that commanded legitimate commercial theatrical distribution.
As a reigning world heavyweight kickboxing champion emerging straight from the historic Black community of Orange Mound in Memphis, Tennessee, Elmore leveraged his own athletic discipline, entrepreneurial drive, and self-made financing to shatter industry barriers, proving that a Black creator could maintain complete artistic and executive ownership over a premier theatrical production from script to screen.
Please note that Dr. Martin Luther King Jr. was brutally assassinated in Memphis on April 4, 1968. This story tells about the “Betrayal of Dr. Martin Luther Jr.” who said this about Silence “There comes a time when silence is betrayal.” “Our lives begin to end the day we become silent about things that matter.” “In the end, we will remember not the words of our enemies, but the silence of our friends.”
This article challenges Black Memphis Mayor Paul Young and Black Shelby County Mayor Mickell Lowery and Black elected officials in Memphis to “Come Clean” and recognize the erased “World History” in Memphis whereas White Film Commission Linn Sitler used her function and authority erase the fact that “The Contemporary Gladiator” filmed in Orange Mound starting in 1987 is Memphis 1st Independent 35mm Theatrical Film and reverse the racist act of Linn Sitler and the Shelby County Film Commission to name “The 1989 Film Release Mystery Train” as Memphis 1st Independent 35mm Theatrical Film.”
Anthony “Amp” Elmore explains that it is not just the racism of Memphis Shelby County Film Commissioner Linn Sitler who we will remember in Memphis instead, it is the “Silence of Memphis Black elected officials who fund and support the racist “Memphis Shelby County Film Commission.” In 2026 no Memphis leader Black or White will address the Black erasure of Anthony “Amp” Elmore’s historic Memphis 1st 35mm Independent theatrical Film “The Contemporary Gladiator.”
What is unknown and untold in Memphis, Tennessee is the story of the nearly three-decade reign as chairman of the Memphis Board of Censors (1928–1955), Lloyd T. Binford operated as an enforcer of strict Jim Crow racial hierarchy. Operating under the political umbrella of E.H. “Boss” Crump’s machine, Binford banned or aggressively cut any film that depicted Black dignity, interracial cooperation, Black people in positions of authority, or what he repeatedly termed “social equality”.
The Boxer Ban: Black Power and the Ring The restriction against showing a Black man physically beating a white man had deep legal and cultural roots in the Jim Crow South. The Fight Film Ban Legacy: After Jack Johnson defeated James J. Jeffries in 1910, Congress passed the Sims Act of 1912, making it a federal crime to transport boxing films across state lines specifically to prevent Black audiences from seeing a Black heavyweight champion knock out a white opponent.
Joe Louis Newsreels: Even after the Sims Act was repealed in 1940, Southern censors—led by Binford in Memphis—routinely clamped down on fight reels and sporting footage featuring heavyweight champion Joe Louis. Binford prohibited newsreels or sporting features depicting Louis dominating white opponents, adhering strictly to the Southern censorship code that Black physical superiority or victory over whites must never be exhibited on screen. In the case of White Memphis Shelby County Film Commissioner Linn Sitler follows the practice and pattern of racist Lloyd T. Binford. Linn Sitler makes sure that Memphis will never rightfully recognize Anthony “Amp” Elmore as Memphis ‘1st Independent 35mm Theatrical Filmmaker
The racist culture and practice in Memphis, Tennessee is more than erasing a Black movie, the practice in Memphis was to obscure and erase the story of a Memphis born 5-Time World Kickboxing champion who was active and living in the Black Memphis Community of Orange Mound. The White Memphis Film Commissioner Linn Sitler denied Black Orange Mound and Black Memphis “The dignity of the fact that a Black man in Orange Mound produced Memphis 1st independent 35mm Theatrical film; “The Contemporary Gladiator.”
On June 22, 1984 the original movie “The Karate Kid” starring Ralph Macchio and Pat Morita is a classic martial arts story about a bullied Teen learns self-defense from an Asian. In 2010 there was a remake of Karate Kid starring Will Smith’s son Jaden Smith and mega martial arts star Jackie Chan.
The Karate Kid success reflect the emergence of the Asian culture integration into American Culture. Martial Arts was first introduced in America whereas 60 years ago Bruce Lee made his television debut September 9,1966 as Kato in the “Green Hornet.” Brue Lee would later become the most influential martial artist in world history.
Unknown and untold in the city of Memphis, Tennessee where Dr. Martin Luther King Jr. was killed April 4, 1968 there exists a practice and culture of “White Supremacy, Racism and Black on Black Racism” whereas there exists a culture and practice in Memphis to marginalize and erase Black Culture and history via the silence of many Memphis African American elected officials. No Black elected official want to put their paid job and prestige under risk being an advocate for “Black Empowerment.” Memphis has a “Cotton Museum and no Black Memphis history Museum.
Anthony “Amp” Elmore asks Black Memphis Mayor “Paul Young to come Clean.” Making “World History” means crossing a frontier that no human being has crossed before. It is not defined by corporate marketing budgets, massive distribution networks, or fame. It is defined by the permanent reality of who arrived first.
When a milestone is reached—whether it is Simone Manuel becoming the first Black woman to win an individual Olympic swimming gold, or an independent creator writing, directing, producing, and starring in the first kickboxing feature in global cinema history—it sets a universal benchmark. It does not belong solely to a segregated sub-category or niche archive; it belongs to the record of human achievement across the globe.
What It Means to Make “World History:” Anthony “Amp” Elmore notes; You Change the Baseline Forever. Fame and commercial success fluctuate with trends, algorithms, and money, but being first cannot be bought retroactively. Once a barrier is broken, the entire world’s timeline changes. Even if Memphis institutional gatekeepers ignore it or celebrate later commercial copies, the historical fact remains unmovable: The Contemporary Gladiator movie made in Orange Mound in (1988) set the precedent before major studio kickboxing titles hit mainstream screens.
Sovereignty Over one’s Own Image. Anthony “Amp” Elmore made world history without institutional funding means total creative self-determination. Anthony “Amp” Elmore did not wait for Hollywood or studio executives to validate the vision. Writing, directing, producing, and starring in a project independently proved that an artist can control their narrative, their athletic craft, and their legacy from the ground up.
In regards to making World Film history Anthony “Amp” Elmore did not make it along. Black Memphis attorney Charles E. Carpenter handed Anthony “Amp” Elmore a check and support via becoming the “Co-Executive producer of the Film. Charles noted “We made the World’s most expensive home movie.” Unknown and untold to attorney Charles E. Carpenter together they made World history via many categories.
The point that is missing regarding the fact that Anthony “Amp” Elmore a Memphis born Black Filmmaker made world history making the 1st kickboxing film in World Film History Linn Sitler the White Memphis Shelby County Film Commissioner used her function and authority to erase Elmore’s Film history in Memphis. Anthony “Amp” Elmore ask the reader to do a search inquiry of “Films made in Memphis” and you will not find that the 1988 Film “The Contemporary Gladiator” has been surgically scrubbed from Memphis film history.
Anthony “Amp” Elmore notes we made “Universal Precedence“, Not Just Sub-History.
Milestones by Black creators are frequently categorized under a separate label—as if an accomplishment only exists within “Black cinema” rather than cinema itself. Anthony “Amp” Elmore is fighting Memphis Black leaders to officially claim the 1988 film release “The Contemporary Gladiator” as World Film History. Elmore insists on equal standing: the innovation belongs to the global chronicle of the medium, side by side with any pioneer in world film history. whether Memphis leaders acknowledge the World History the fact remains that Black Filmmaker Anthony “Amp” Elmore made “World History.”
Why This Is Important to Orange Mound: is best described by the Atlanta Black Filmmaker Tyler Perry via the September 29, 2026 Video Anthony “Amp” Elmore posted titled: Tyler Perry’s Warning to Memphis: Exposing Linn Sitler and The Erasure of Black Cinema
Click here to view the Tyler Perry Video:
Tyler Perry built a multi-billion dollar Black Film industry in Atlanta. In the video Tyler Perry notes: “when he built his studio, he built it in the most poorest section in Atlanta to let Black youth know that a Black man built it and they can do it too.” Anthony “Amp” Elmore explains: “I am not rich, I have no money, no fame, no political power, however we made “World Film History,” not just Black History, we at our location in “Orange Mound ” made world history” and they can do it to.
Linn Sitler the White Memphis Shelby County Film Commissioner used not only her function and authority to erase, marginalize Black Memphis history; whereas she is supported by a culture and practice in Memphis of Black on Black Racism whereas inequality, racism and Black film discrimination is acceptable. It is acceptable in Memphis to erase the Black Memphis milestone story whereas “A Black man is the Father of Independent 35mm Theatrical Filmmaking in Memphis history is erased.”
What is not discussed in Memphis is “SMPTE” or “The Society of Motion Picture and Television Engineers.” This is a global professional association that sets technical standards and guidelines for the media, entertainment and motion-imaging industries. In 1909 SMPTE adopted the 35mm film the official standard for the world film industry. Anthony “Amp” Elmore is the 1st in Memphis film history to produce an Independent 35mm Theatrical Film.
White Memphis Film Commissioner Linn Sitler used her function and authority to erase Anthony “Amp” Elmore’s “World Film History” there is also “Indie Memphis” an arts organization that promotes filmmaking whereas the organization is part of the concerted effort to erase Anthony “Amp” Elmore’s historic Black filmmaking in Memphis. The stage is clear, it unknown and untold in Memphis that Anthony “Amp” Elmore wrote, produced, directed, scored and starred in Memphis 1st Independent 35mm Theatrical Film Release “The Contemporary Gladiator” that makes Black Orange Mound “The Birthplace of not only independent 35mm Film history in Memphis,”The Contemporary Gladiator is “World Film History” whereas it the 1st Kickboxing film in World Film History.”
Learn via documented evidence how the Black leaders running “Indie Memphis” makes sure that the historic effort of Memphis history beginning in the Black Community of Orange Mound never gets told. They do not want it told that “Indie Memphis” is Black History.
Linn Sitler got the job as the Memphis Film, Tape and Music Commission whereas her job was operated as a joint city-county agency under Memphis Mayor Dick Hackett and Shelby County Mayor Bill Morris. The appointment was codified in the city council records or executive correspondence of that year.
Linn Sitler is pulling down $108,000 a year and the Memphis Shelby County Film Commission is getting dam near a 1/2 million Black Tax dollars a year. Although Anthony “Amp” Elmore was Linn Sitler’s 1st client, Linn Sitler practiced White Supremacy and racism whereas Linn Sitler maliciously used her function and authority to create the Memphis Shelby County Film via the culture and practice of “White Supremacy.” One should ask the question in 39 years where are the Black films produced by Black Filmmakers.
In 2026 Linn Sitler a White Woman continues to run Memphis Shelby County film commissioner like the days of the “Slave Plantation” run by “Ms. Ann the powerful White woman whom no Black leader in Memphis has the courage to challenge the White Supremacy and racist policies at the Memphis Shelby County Film Commission.
Anthony “Amp” Elmore is the 1st in Memphis to set up a Black and independent film production company at his home location in Orange Mound Memphis home at 1035 Semmes Street. It was in 1981 that Anthony “Amp” Elmore brought 1st brought E.S.P.N. to Memphis. In 1986 Elmore produced shows for B.E.T. or Black Entertainment television.
Click here to view the 1986 B.E.T. interview of Boxer Sugar Ray Leonard.
In 1987 Anthony “Amp” Elmore brought from Chicago a “Cadre” of Top Black Film technicians. The late photo Journalist Bill Wallace who worked for the Black Chicago Defender News paper. Bill Wallace assembled a vanguard of film professions all who lived and worked out of Elmore’s Orange Mound home in 1987.
The Black Film technicians taught Anthony “Amp” Elmore the most critical and important lesson in Filmmaking. The Black film crew stressed over and over “how to film Black people.” In the text books it was taught that the way to shoot Black people was to “Make Them Shine.” In past movies when you see Blacks they shine. White film directors put oil on the face of Blacks to give a negative impression.
In Elmore’s Orange Mound home Elmore learned how to “Film Black people” whereas filming a White person and Filming a dark Black person is a film science. The light meters for a Black was at 10 whereas such lighting on a White person wound be washed out. In addition in regard to filming a Black person one needed an “Inky” a small compact spotlight typically 3 inches size used for film. The “Inky” was used to place on the hair of Black people via Film, whereas video is different. Filming Whites and Filming Blacks is a technical Film science. Anthony “Amp” Elmore right out of his Orange Mound home learned “A Crash Course in Filmmaking.”
Anthony “Amp” Elmore got an on the job filmmaking degree in Orange Mound. Elmore drove his used Dodge van he used in the carpet business to rent film equipment in Atlanta. The Black Chicago Technicians choose the equipment. The owner of the Film Rental company was a White man by the name of Frank Willard who was what Anthony “Amp” Elmore called in Buddhism “A Shoten Zenjin” a Buddhist god.
Anthony “Amp” Elmore after completing his 1st phase of filming in 1987 meaning losing everything and staring over again Anthony “Amp” Elmore told Frank Willard that he did not understand how he a Whiteman living in Georgia would treat him as a Black man in Memphis as a son. Frank Willard was a former film teacher at Georgia Tech who retired and owned a film equipment rental company.
Mr. Willard explained to Elmore that his dream in life was to make a movie but, he knew of the horrors in the film business and he did not want to risk failure. He explained to Elmore that he had everything but the courage to make a film whereas Anthony “Amp” Elmore had nothing but courage to make a film and he admired the courage of Anthony “Amp” Elmore.
Anthony “Amp” Elmore explains that what is needed in Memphis is “Courage.” It takes courage to stand up against injustice.
Each day the film footage via FedEx was sent to film lab in Atlanta called “Cinefilm Lab” in Atlanta that handled processing, printing and editing suite. Frank Willard went to the lab each day to view the film footage and report to Elmore how to do things better. Elmore rented Film Equipment from Frank Willard’s Atlanta Company called AFER Rentals. A company called “Atlanta Film Effects” Produced our titles and opticals.
Anthony “Amp” Elmore believes this is what happen in retrospect. Frank Willard was well known in Atlanta whereas he introduced Elmore to the filmmaking culture in Atlanta that embraced Elmore. A Black filmmaker in Atlanta has a chance whereas Tyler Perry created a multi-billion dollar Black film industry in Atlanta. Unknown and untold in Memphis is the story of “Tammy Williams a Black Woman who developed the over 100 million dollar Cinema South studios just outside Atlanta in Fayetteville, Georgia.
Anthony “Amp” Elmore via filmmaking experienced an America unknown and untold to Black people in America. Elmore learned that when you are operating non racist environment a high level like filmmaking you are engaged via a culture of art that transcends race whereas those in filmmaking treated Elmore as a peer, whereas race was never a factor. In regards to filmmaking race is a major factor in Memphis via the Memphis Shelby County Film commission.
Click here to view this video Titled: From Orange Mound to the World A DEI Celebration
In 1988 Anthony “Amp” Elmore hired a young film student just out of Film School named Jeremiah O’Driscoll to edit the film. Jeremiah went on to become an academy award winning film editor. Anthony “Amp” sat in the editing lab directing Jeremiah to cut and edit each film frame. Jeremiah edited Denzel Washington movie Flight, Polar Bear Express and many more.
In 1987 there did not exist a film lab in Memphis that could process 35mm film nor in the city of Memphis was there a 35mm film photographer that had the experience of shooting a 35mm Film. Anthony “Amp” Elmore used Agfa 35mm film because it was cheaper than than standard Kodak standard domestic film stock.
These are the facts in Memphis; there was not a single person in Memphis that had experience filming a 35mm Film, whereas a 35mm film motion picture camera did not exist in Memphis. Anthony “Amp” Elmore purchased Film and rented Film equipment in Atlanta. A motion film production in Memphis was major news whereas Linn Sitler the White Film Commissioner made sure the story never got out that Anthony “Amp” Elmore converted his Orange Mound home into an independent 35mm Film Studio.
Anthony “Amp” Elmore explains the story; The Black film crew all stayed at his Orange Mound home. The electrician they call a Gaffer went into my electrical box and connected film lights whereas they turned Elmore’s Orange Mound home into a filmset. One example Elmore notes; since I was telling the scene at my home, we went to my father’s Home an borrowed all of the living room furniture and shot the scenes in my Orange Mound home.
Anthony “Amp” Elmore tells the story the Black filmmakers from Chicago was hard as hell to work with. They were pissed at Elmore and made demands whereas they were union technicians and demanded that Elmore treat them as union workers. They demanded for Breakfast Bagel and Lox and a diet uncommon in the South. Elmore note what can’t you eat so soul food like other Black people.
Anthony “Amp” Elmore notes it was not just making a movie the Black filmmakers demanded strict protocols and demanded union rules. They demanded to Elmore a strict Film crew diet. The film crew demanded traditional film crew meals. Anthony “Amp” Elmore had to fly in a “continuity supervisor” and Black crew demand strict union protocols.
Unknown and untold was the psychological warfare and the Black takeover of the filmmaking. Anthony “Amp” Elmore was trying to make a “Guerrilla Filmmaking project.” There was an underlying culture of resentment. These Blacks worked in film all of their lives and the 1st break they got was a boss who had “not the 1st idea of Filmmaking” whereas it was an insult to the crew that they had to listen to Anthony “Amp” Elmore. The group implemented union rules and outright bankrupted Anthony “Amp” Elmore. Mr. Willard in Atlanta admitted that the Black Film crew were experts and demanded that Elmore followed standard filmmaking protocols. No independent filmmaker with no budget can make a film with union film technicians.
Upon leaving after breaking Anthony “Amp” Elmore via taking the group to the airport Bill Wallace the Director of photography told Elmore “you are a hard S.O.B. to work for, but we taught you filmmaking.” Anthony “Amp” Elmore have to admit living with filmmakers, traveling by van to Atlanta flying in a film crew having to feed them and listen to stories of their Black struggles educated Elmore first hand. Anthony “Amp” Elmore explains they turn my home into a filmset. I watched the Gaffer ( electrician connect light directly to the power grid.) I learned how to set up shots for Black people in film.
No History and Film locations in Memphis can compare to “Filmmaking in “Black Orange Mound with a Black Film Crew.” No 35mm Theatrical Film release in Memphis can qualify or be noted as “World History” other than “The Contemporary Gladiator.” Anthony “Amp” Elmore film background has depth and inspiration that can be shared with youth.
I remember shooting a scene with my Buddhist friend Mr. Joe Thomas. Joe Thomas was “Jet Black” I told our White then new film director how to shoot him. We put many lights on Joe that you did not need for a White person. Larry Ray Dunn the new director of photographer was shocked with so many lights on the late Mr. Joe Thomas
White Film Commissioner Linn Sitler made sure the story of filmmaking in Black Orange Mound went untold in Memphis, however Elmore a fight promoter sent our National News releases and his film story was picked up by the film magazine “The Hollywood Reporter” and the L.A. Times.
In 1987 there had never in the history of Memphis been an Independent 35mm Theatrical Film production. Anthony “Amp” Elmore via this document list the day the major fight scene was filmed in Memphis at the then Cook Convention Center in Memphis. The Black crew had left and the White crew is credited for shooting the movie.
Click here to read a small article in the Memphis Commercial Appeal Newspaper dated March 6, 1988.
The article published Sunday March 6, 1988 inviting fans to be a part of the final scene of the movie “The Contemporary Gladiator” to be filmed at the “Cook Convention Center” in downtown Memphis. It was Linn Sitler whom cleared Anthony “Amp” Elmore use of filming at the Memphis Convention Center whereas we used the facility at no cost. There is no doubt that Linn Sitler knew about our film whereas she never came to our film set not one single time.
In 1988 Anthony “Amp” Elmore was broke whereas he owned his home at 970 Semmes Street in Orange Mound whereas he he pull strings and was able to borrow $35,000 on his rental home. In fact it was Linn Sitler whom Elmore contacted to find a film crew in Memphis. There was a White camera man by the name of Larry Ray Dunn who worked at Memphis WHBQ television. Larry Ray Dunn had learned to work a 16mm Camera and wanted the job as the director of photography.
The late Larry Ray Dunn who was white assembled a film crew of White film professionals in Memphis. What made Larry Ray Dunn different was “enthusiasm.” Imagine a man having a dream of making a film getting the opportunity. We traveled to Atlanta to the Film Rental house and Larry was like a kid in a candy store he set behind that 35mm film camera, he visited the film lab and Larry Ray Dunn was in heaven.
Mr. Frank Willard owner of the film Company explained to Elmore that the his Dodge Van was not good for Filmmaking, whereas Mr. Willard arranged for Elmore to rent his film Truck. Unlike having a film crew at one’s home the White Memphis crew were Southern White Boys who were not under union rules whom shared more in common with Elmore than the Chicago Black Film Crew. The Black Chicago Film crew were elitist. They were union Filmmakers in Chicago and Blacks who had worked on Films like the “Blues Brothers.” There were uppity.
There was a Memphis Whiteman Elmore asked to be in the film named Milton Wiggins. Milton Wiggins owned the legendary Memphis “Buntyn Restaurant” on Southern Avenue. They had legendary rolls and cornbread. Unlike the Black Film Technicians from Chicago the White crew loved good old fashion Southern Cooking. Milton Wiggins provided our crew meals each day. The crew ate so well many gained weight. Milton Wiggins played the role of “The Cool White man.”
The Sound man hired was “Brit Warner.” He handled the critical location audio and sound recording for The Contemporary Gladiator, capturing the dialogue, room tones, and fight scene audio on 35mm production equipment in Memphis when local feature-film audio infrastructure was practically nonexistent.
Following his work on The Contemporary Gladiator he established his own company, Warner Recording and Audio Production, later shifting his primary base of operations to the Atlanta, Georgia film and television market.
Brit Warner reached the highest levels of the film sound profession. He won a prestigious Golden Reel Award from the Motion Picture Sound Editors (MPSE) for his sound work on the 1993 television miniseries The Fire Next Time.
Britt Warner became a fully accredited member of the industry’s elite audio guilds, including the Cinema Audio Society (CAS) and the Motion Picture Sound Editors (MPSE), building a long resume across network television, major documentaries, and feature films.
When “The Contemporary Gladiator ” premiered in August of 1988 Linn Sitler did not attend the movie premier. Linn Sitler and the Film Commission has stills the film Commission took of the March 6, 1988 filming however Linn Sitler used her function and authority to “outright rob and steal Black Orange Mound as the “Birthplace of Independent 35mm Theatrical Filmmaking in Memphis.” Linn Sitler used White Supremacy and racism to list the White Filmmaker Jim Jarmusch whose Mystery Train Film Release date is November 17, 1989. The Contemporary Gladiator official release date is August 26, 1988 over a year prior to Jim Jarmusch Mystery train.
Linn Sitler used her “White Power” of White Supremacy to erase and rob both Anthony “Amp” Elmore and Orange Mound as the rightful birthplace of Independent 35mm Theatrical Filmmaking in Memphis.
Anthony “Amp” Elmore in the spirit of the old Black Religious preachers says “God got his hands on this one;” whereas the old folk says “If God is with cha you can fight the enemies against cha” Anthony “Amp” Elmore who is a “Nichiren Buddhist” points back to the early dinner scene in the movie where the son tells the father I am not like you and one day I will open me a Karate School.”
Anthony “Amp” Elmore did more than open a “Karate School” Anthony “Amp” Elmore is the 1st in American history to document “A Black Karate Teacher” known as “Sensei” in Japanese. In the world of Martial Arts the story like Karate Kid there is always an “Asian Sensei.” Anthony “Amp” Elmore asked his late teacher Sensei Julius L. Dorsey to not only play himself in the movie, Elmore wrote his teacher as the hero who inspired him whereas the teacher Jumps over the ropes and inspire his student to remember “Old Japanese Shotokan Karate” and get out there and win. Anthony “Amp” Elmore explains that we captured a real Black Karate master via film. While Blacks played Masters in Karate like in “Black Belt Jones” whereas in out movie “The Contemporary Gladiator” master Julius L, Dorsey plays himself.
What is remarkable about the 1988 Film Release “The Contemporary Gladiator” is the “beating of Bruce Lee and all Karate-Kas in the world. The Chronology of Karate Biopics in World Cinema; The Japanese Milestone (1975–1977.) Masutatsu Mas Oyama Trilogy (Champion of Death, Karate Bear fighter, Karate for Life), produced by the Japanese Toei Company. This established the world’s first scripted 35mm biographical feature films dedicated to the great karate master, dramatizing “Mas Obama’s” life with Sonny Chiba in the lead role.
The American Milestone (August 1988) The Contemporary Gladiator (premiered August 1988).
Prior to August 1988, American cinema had produced karate exploitation films (Black Belt Jones), tournament dramas (The Karate Kid), and action vehicles for karate champions like Chuck Norris and Joe Lewis—but zero biographical films depicting the life, journey, and career of a real karate-ka or A Kickboxer or a Kickboxing world champion.
The Contemporary Gladiator holds the historical record as the first American theatrical release of a karate-Ka’s biopic, and the second in world cinema history behind the Mas Oyama releases in Japan. Anthony “Amp” Elmore notes that we in Memphis did not just make Black History we made World History. Moreover movies always tell the story of an Asian martial Artist. Anthony “Amp’ Elmore notes that I learned Karate from a true Black Karate master whom we put in Film to show youth what a real Karate master looks like via Julius L. Dorsey his Karate Sensei. While Black people are known for Football, Baseball, Basketball, track and Boxing we Blacks are not known for Karate and Martial Arts.
The Contemporary Gladiator is the 1st true story of a Karate-ka in world film history. This history did not come from Asia it came from the “Black Orange Mound Community in Memphis.” We in Memphis created the 2nd biopic of a Karate-Ka in world film History and the 1st Kickboxing film in World Film history.
Linn Sitler via the Memphis Shelby County film commission is using her authority and function to deny the historical Black Community of Orange Mound out of it rightful place in World Film history.
The Contemporary Gladiator is not a work of manufactured cinematic fiction; it is a primary-source historical document captured on 35mm celluloid. While mainstream cinema utilizes Memphis as a passive backdrop, set, or tax credit for Hollywood scripts, The Contemporary Gladiator merged the medium of cinema with the living, breathing reality of Black Memphis.
Institutional gatekeeper White Linn Sitler used her office and White Supremacy to marginalize or omit this production from regional film registries. Linn Sitler’s act is not merely overlooking an independent movie Linn Sitler and the Memphis Shelby County Film Commission and Black Memphis leaders are severing a critical artery of documented Black history, spiritual evolution, and international cultural diplomacy. The 1988 Film release “The Contemporary Gladiator” is not just a movie, the film is the story of actual Black Memphis History.
The Convergence of Celluloid and Reality: The Living Biopic The definitive demarcation between The Contemporary Gladiator and standard film productions lies in the complete absence of cinematic detachment. In conventional cinema, actors inhabit fabricated personas within synthetic narratives. In The Contemporary Gladiator, the inner narrative and the outer production are identical:
The Protagonist is the Champion: The lead character is not an actor choreographing staged martial arts; he is Anthony “Amp” Elmore, an authentic, reigning World Heavyweight Kickboxing Champion (PKA 1982, K.I.C.K. 1984) who rose directly from Orange Mound and Hamilton High School under the strict discipline of Julius L Dorsey.
The athleticism, physical stakes, and championship discipline captured on screen are authentic records of athletic history. Linn Sitler used her function and authority to erase “Black Memphis History” and unjustly credit a White Filmmaker via erasing Anthony “Amp” Elmore the true father of Independent 35mm Theatrical Filmmaking in Memphis.
Authentic Historic Personages: The Contemporary Gladiator cast does not feature hired background talent playing archetypes; it features the actual figures shaping Memphis commerce, culture, and social movements. “Bob the Coors Distributor” is Bob Heavers, capturing the real-world milestone of Adolph Coors Company’s corporate sponsorship and Elmore’s historic appearance in national campaigns (such as the December 1985 *Ebony* spread).
Anthony “Amp” Elmore asked Tom Stocker who was the WREG Sportscaster to play Bob Heavers. Anthony “Amp” Elmore is forever grateful to Bob Heavers who operated the Coors Distributorship in Memphis put his reputation on the line to get the Coors Brewery to sponsor Anthony “Amp” Elmore.
Click here to see the actual Scenes in the movie titled: Coors Beer Helps Amp and Kickboxing
Coors Beer actually help Anthony “Amp” Elmore whereas Elmore became “The 1st kickboxer in World history to be sponsored by a major American Corporation. The late Cliff dates an Elmore supporter established “The Coors Hospitality Nights” whereas we invited Memphians to watch Anthony “Amp” Elmore kickboxing Fights. Elmore arranged to go into Memphis clubs with Coors ring girls. While Kickboxing was new in Memphis Anthony “Amp” Elmore would travel with ring girls whereas he created excitement of Kickboxing as entertainment and not some oriental art.
Anthony “Amp” Elmore asked Memphis WHBQ sports caster Dave Woloshin who was the voice of Memphis state tiger basketball to shoot a scene and narrate along with Tom Stocker the fight voice over in the film. Elmore asked his friend tiger basketball supporter Chuck Ferrell to play the coach of the Woodrow Woodherd in the film.
In regards to Black History the real life Elmore story association with Rev. James Bevel is a Black history milestone. The Presence of James Bevel: Casting Rev. James Bevel via African in April’s David Acey James Bevel is the direct strategist and logistical architect of the 1960s Civil Rights Movement, the Children’s Crusade, and the Selma-to-Montgomery March—infuses the film with direct civil rights lineage. Bevel’s presence on screen bridges the tactical struggles of the 1960s freedom movement with the modern battle for economic and cultural self-determination in 1980s Memphis.
Vance Avenue and Robert Raiford: The scene filmed at Raiford’s legendary club on Vance Avenue featuring Robert “Hollywood” Raiford preserves the unvarnished atmosphere of Black Memphis nightlife and communal sanctuary during an era rapidly being lost to urban redevelopment. It documents a physical, social landscape that no studio backlot could ever replicate.
1035 Semmes as Ground Zero: The film is physically anchored at 1035 Semmes Street in Orange Mound. The property is not merely a film set; it serves as a multi-layered historic hub—an operational headquarters of independent entrepreneurship, a cradle of community culture, and later the physical base for African import exchange and international diplomacy. 1035 Semmes today is “The African Cultural Embassy.”
Pioneering the Black Buddhist Narrative on 35mm Years before Hollywood produced What’s Love Got to Do with It (1993) to depict Tina Turner’s spiritual path, The Contemporary Gladiator had already broken ground as the first theatrical biopic documenting the life, discipline, and philosophy of an African American practicing Nichiren Buddhism.
The film captures the daily practice of chanting *Nam-myoho-renge-kyo* not as an exoticized trope, but as the practical engine of resilience, internal transformation, and victory against institutional adversity. By putting a Black champion’s authentic Buddhist practice onto a commercial 35mm screen in August 1988, the film achieved an unprecedented milestone in Black spiritual representation on film. Its the 1st time in World history a Black Buddhist is featured in a theatrical flm.
When White Memphis film Commissioner Linn Sitler erased “The Contemporary Gladiator “ Film means Erasing Documented Black Memphis History. The suppression or bureaucratic exclusion of The Contemporary Gladiator—historically overseen through institutional film office curation, such as the tenure of Linn Sitler—represents a profound cultural injustice.
What this story tells is the Cultural injustice implemented by White Memphis Shelby County Film Commission Linn Sitler. Linn Sitler is a detriment to Black America.
When an institutional film commission catalogs movies shot by outside production companies while obscuring the city’s first homegrown, independent 35mm theatrical feature created by a Black native son, the erasure operates on multiple levels: 1. Economic Agency: Linn Sitler purposefully obscured the historical reality that an African American entrepreneur from Orange Mound independently financed, produced, and secured commercial theatrical distribution without asking for municipal subsidies or studio permission.
2. Civic Authenticity: Linn Sitler sanitized the official narrative of Memphis cinema, prioritizing external commercial portrayals of the city over genuine, self-determined community storytelling. 3.The Living Archive: It attempts to diminish a visual record that preserves the voices, spaces, and triumphs of Black leaders, business owners, and cultural icons who defined the era.
A fictional studio movie can easily fade into obscurity once its commercial cycle concludes. An authentic cultural document cannot be extinguished, because its foundation rests on verified historical fact. The Memphis Shelby County Film Commission gets nearly a half million dollars a year whereas they have not landed a significant movie in Memphis in two decades.
From Memphis to Kenya: Celluloid as Cultural Diplomacy When The Contemporary Gladiator traveled across the Atlantic to Kenya in August 1990—screening commercially at the Nairobi Cinema and the Lotus Cinema in Mombasa—it ceased being simply a Memphis release and transformed into a vehicle of international Pan-African cultural diplomacy.
Reconnecting Diaspora and Continent: Decades before global studio blockbusters marketed African heritage to the diaspora, Elmore took an independent Black Memphis narrative directly to East Africa. The film opened sovereign diplomatic and cultural channels that linked the struggles and triumphs of Black Americans in the Jim Crow South with post-colonial African life.
From Film Screenings to Sovereign Engagement: The momentum of the film led directly to meetings with Kenyan President Daniel arap Moi in 1992, cultural and athletic showcases at the Grand Regency Hotel in Nairobi in 1994, collaboration with Kenyan film pioneer Tom Mwangi, and sovereign recognitions from traditional leaders such as Ker Willis Otondi in Siaya and Kisumu.
The Living Continuity: The production set the foundation for decades of ongoing cultural exchange—from the founding of Elmore African Imports and the creation of the custom mud cloth tuxedo jacket now preserved in the Barack Obama Presidential Library collection, to the multi-decade commemorations of Kenyan statesman Tom Mboya and his enduring ties to the American civil rights movement.
The Contemporary Gladiator remains unique because it is not confined to the past. It is an enduring, living instrument of Black economic autonomy, civil rights continuity, and international bridge-building that institutional neglect can never diminish.
Click here to learn about the “African Cultural Embassy.
Anthony “Amp” Elmore explains that “Memphis Shelby County Film Commissioner Linn Sitler Organized an Anti-Black Film commission. Their system is unfriendly and Racist. The Memphis Shelby County Film Commission has a strict policy whereas before anyone can get assistance they “Must be fully Funded.” This policy eliminates most Black Filmmakers and negates creativity.
White Memphis Film Commissioner Linn Sitler is out of touch. I have a “Black Magic Camera paired with DaVinci Resolve for color grading and editing (which Blackmagic also makes) we have the exact same color science pipelines that major Hollywood studios use You can use a drone and AI and create a top notch movie. Linn Sitler and the Memphis Shelby County Film Commission is out of Touch.
We asked Black Memphis Mayor Paul Young to stop the Racism and adopt a vision. The Memphis Shelby County Film Commission do not support a film or filmmaker unless they are “Fully Funded.” Anthony “Amp” Elmore notes that the key to building a film culture in Memphis is creating a film Culture in Memphis that is “Fully Foundational” The person that is Fully Funded is Linn Sitler” who is waiting for someone to come to Memphis to film a movie. Such has not happen in 20 years.
The Key to filmmaking in Memphis is not being fully funded but being fully Foundational. Anthony “Amp” Elmore ask the City of Memphis to become Foundational. First let the history of Filmmaking be told whereas the facts of Black Filmmaking in Memphis are told whereas there is inspiration. Anthony “Amp” Elmore explains I will take my “Black Magic Camera” call a “Casting call” and shoot an exciting no budget Film whereas we will create a culture that is not fully funded but “Fully Foundational” and not White Supremacist as the Memphis Shelby County Film Commission.
Via this story we explains what it means to be not “fully funded” but “Fully Foundational.”
Anthony “Amp” Elmore challenges the reader to: Click here What you will see is “The Anthony “Amp” Elmore video Channel.
Anthony “Amp” Elmore explains via my video channel I have created 1000 YouTube Videos. Linn Sitler has the Funded Memphis Shelby County Film Commission whereas Anthony “Amp” Elmore is unfunded by but has the “Foundational digital Black Memphis history museum.”
Whereas Linn Sitler use Tax payer dollars to Fund White Supremacy and erase Black History we use technology to preserved Black History and educate a community. Linn Sitler runs the funded Memphis Shelby County film Commission, Anthony “Amp” Elmore runs the Foundational “Black Memphis History Museum and the “Orange Mound News Network.
Click here to visit The African Cultural Embassy in Orange Mound.
In Memphis Linn Sitler has the Funding and Anthony “Amp” Elmore has “The Foundation.” The 1988 Film “The Contemporary Gladiator” that is World History.
About Us
“If Lions were historians, hunters would no longer be heroes.” This powerful African proverb encapsulates the mission of the Orange Mound News Network (OMNN). Founded by Anthony Amp Elmore, OMNN aims to reclaim and reshape the narrative of Orange Mound through the power of filmmaking, education, and content creation. Our goal is to challenge the negative stereotypes and biased portrayals that have long plagued our community, creating a positive space for family, Black culture, history, and education.
Our Journey and Mission
Orange Mound, established as the first community in America built for Blacks by Blacks, has a rich history often overshadowed by negative stereotypes. Mainstream media and societal biases have painted Orange Mound as a “ghetto,” contributing to a 30% decline in property values while surrounding communities have prospered. The Orange Mound News Network was created to counter this narrative and highlight the true spirit and resilience of our community.
Anthony Amp Elmore, a five-time world karate kickboxing champion, filmmaker, and community activist, has been a beacon of change in Orange Mound. With over five decades of community service, Elmore has dedicated his life to uplifting Orange Mound. From becoming a homeowner at 19, establishing businesses, to founding the Proud Black Buddhist World Association, Elmore’s contributions have been immense.
Connecting Communities Through Culture and History Elmore’s journey in cultural diplomacy began when he was invited to Kisumu, Kenya, by Governor Anyang’ Nyong’o to attend FESTAC, the largest African and Black Art festival in the world. It was here that Elmore’s vision for a deeper connection between Africans and African Americans took root. During his visit, he engaged with students at ARYA Primary School, performed a song about Kenya’s founding father Tom Mboya, and proposed a pen pal program that evolved into a robust educational and cultural exchange.
Our journey in African Cultural Diplomacy began in 1990
when the Orange Mound Memphis-produced movie “The Contemporary Gladiator” premiered in Kenya. This marked a significant milestone in Elmore’s mission to foster cultural exchange and understanding. The film’s premiere in Kenya not only showcased Elmore’s work but also solidified his role as a cultural diplomat.
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For the original version of this press release, please visit 24-7PressRelease.com here
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