In a 2017 Instagram post,
Tourmaline claimed filmmaker
David France took inspiration from her grant application video and research to make his documentary,
The Death and Life of Marsha P. Johnson. In a
tweet addressed to him, she accused, "your film only exists because I put that video online." In a
Teen Vogue op-ed, she expressed her concerns that France succeeded in making the film she wanted to make because he is
white and
cisgender, and has access to resources she does not, while her work is marginalized due to being a trans woman of color. France responded on social media and in interviews where he acknowledged his privileges, but also "flatly denied" all allegations of plagiarism. When the LOVE Collective issued a copyright violation claim against Tourmaline and had their footage removed from Tourmaline's Vimeo channel, Tourmaline accused France of being behind the removal. LOVE Collective's Tracy Fitz confirmed to
The Advocate that they, as the license holders, took down Tourmaline's illegal usage, and that France had nothing to do with it. They also confirmed that France paid them for all use of their footage in his films (predominantly footage never used by Tourmaline). In interviews with journalists, France reminded readers that as a
gay man who lived through the
AIDS pandemic, he not only knew Marsha P. Johnson, but that he used both personal knowledge and footage he already had of Johnson that he had shot at
ACT UP and other
AIDS-related events for his documentary,
How to Survive a Plague. He also provided documents to investigators about his plans to make a film about Johnson, which he had been considering ever since Johnson's death in 1992. Speaking to
The Advocate, France did concede one point: he acknowledged that he was present at
Cooper Union in November 2015 when Tourmaline exhibited work that included a rare clip of Johnson, speaking in a basement, shot in 1991 by
New York University professor Darrell Wilson, previously inaccessible to anyone but New York University film students. France had subsequently obtained a copy of the footage, of which a 14-second excerpt is included in his documentary. While France stated that he had been previously aware of the footage's existence,
The Advocate report agreed that in this one instance, "the fact that his film uses this video after he saw it for the first time during Gossett's presentation does support her claim that 'clearly France has seen and learned from our work.'" ==References==