The Baadasssss and the Avant-Garde: the Radical Aesthetics and Politics of Melvin Van Peebles
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Southern Illinois University Carbondale OpenSIUC Theses Theses and Dissertations 5-1-2019 The aB adasssss and The vA ant-Garde: The Radical Aesthetics and Politics of Melvin Van Peebles Samuel Jay Smucker Southern Illinois University Carbondale, [email protected] Follow this and additional works at: https://opensiuc.lib.siu.edu/theses Recommended Citation Smucker, Samuel Jay, "The aB adasssss and The vA ant-Garde: The Radical Aesthetics and Politics of Melvin Van Peebles" (2019). Theses. 2530. https://opensiuc.lib.siu.edu/theses/2530 This Open Access Thesis is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE BAADASSSSS AND THE AVANT-GARDE: THE RADICAL AESTHETICS AND POLITICS OF MELVIN VAN PEEBLES By Samuel Smucker B.A., Knox College, 1990 M.A., University of Illinois at Chicago, 1994 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Arts Degree College of Mass Communication of Media Arts in the Graduate School Southern Illinois University Carbondale May 2019 Copyright by Samuel Smucker, 2019 All Rights Reserved THESIS APPROVAL THE BAADASSSSS AND THE AVANT-GARDE: THE RADICAL AESTHETICS AND POLITICS OF MELVIN VAN PEEBLES by Samuel Smucker A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the field of Media Theory and Research Approved by: Jyotsna Kapur, Chair Novotny Lawrence Joe Shapiro Graduate School Southern Illinois University Carbondale March 22, 2019 AN ABSTRACT OF THE THESIS OF Samuel Smucker, for the Master of Arts degree in Media Theory and Research, presented on March 22, 2019, at Southern Illinois University Carbondale. TITLE: THE BAADASSSSS AND THE AVANT-GARDE: THE RADICAL AESTHETICS AND POLITICS OF MELVIN VAN PEEBLES MAJOR PROFESSOR: Dr. Jyotsna Kapur Melvin Van Peebles is best known for Sweet Sweetback’s Baadasssss Song (1971) and that film’s role in inspiring the Blaxploitation cycle of films of the early 1970s. However, biographical research on Van Peebles’s creative activities in France in the 1960s connect Van Peebles to the institutions and aesthetics of the French New Wave. Van Peebles radicalizes New Wave techniques by employing them to illuminate issues of racism. I generate a new reading of Sweetback which connects the experimental aesthetics and the political stance of the film to cinematic innovations of the French New Wave and the militant politics of the black power movement. By categorizing Sweetback as Blaxploitation film, critics often misread the Sweetback character’s class position. By using the framework of the lumpenproletarian folk hero, I reframe Sweetback’s differences with Blaxploitation protagonists. Finally, I read the film within the traditions of Brechtian theatrical theory by introducing the concept of popular realism and the language of black power, imperfection, absurdity, and militancy. Enormously popular with a younger black audience, Sweetback’s release coincided with a new black power movement and a shift in a self-consciousness political and aesthetic awareness for African- Americans. Sweetback played a role in dispersing and invigorating representations of black independence and new aesthetic norms through a connection with a mass political organization, the Black Panther Party - a singular achievement in the history of U.S. film. i ACKNOWLEDGMENTS This thesis would not have been possible without the generous intellectual engagement of Dr. Joytsna Kapur, Novotny Lawrence, and Joseph Shapiro. Their influence, feedback, and ideas ring through every page of this thesis. ii DEDICATION To my mother, Judy Smucker, for her enduring support of my non-traditional life decisions. iii TABLE OF CONTENTS ABSTRACT ............................................................................................................................... i ACKNOWLEDGMENTS .......................................................................................................... ii DEDICATION .......................................................................................................................... iii LIST OF FIGURES ....................................................................................................................v CHAPTERS CHAPTER 1 - Introduction .............................................................................................1 CHAPTER 2 – Melvin Van Peebles .............................................................................. 13 CHAPTER 3 – How Melvin Van Peebles Radicalized the French New Wave................ 34 CHAPTER 4 - Sweetback .............................................................................................. 66 CONCLUSION ....................................................................................................................... 104 REFERENCES ....................................................................................................................... 100 FILMOGRAPHY .................................................................................................................... 116 VITA ...................................................................................................................................... 119 iv LIST OF FIGURES Figure 1 The Big Heart. Text by Melvin Van Peebles. ............................................................... 17 Figure 2 Three Pick-up Men for Herrick (1957). One of Van Peebles San Francisco short films. .......................................................................................................................... 17 Figure 3 Les Cinq Cent Balles (500 Francs) .............................................................................. 21 Figure 4 Chester Himes and Melvin Van Peebles. France Observateur. “The Unconquered, Chester Himes” Feb 20, 1964 ..................................................................................... 26 Figure 5 Les Cinq Cent Balles. The boy and the Algerian. ......................................................... 45 Figure 6 Miriam in direct address in La Permission. .................................................................. 49 Figure 7 In Watermelon Man, Van Peebles combines television sitcom and New Wave styles .. 51 Figure 8 Jeff Gerber in existential panic in Watermelon Man. ................................................... 53 Figure 9 A rapid series of split screens disguise the culprits who set the police care on fire. ...... 61 Figure 10 Vertical split screen ................................................................................................... 62 Figure 11 Horizontal split screen ............................................................................................... 62 Figure 12 Sweetback’s quantum aesthetic. ................................................................................. 64 Figure 13 Beadle, Sweetback’s very unglamorous pimp, refuses to help him escape. ................ 76 Figure 14 “Free Huey” on the back of Melvin Van Peebles first album Brer Soul (1968) .......... 85 Figure 15 For Sweetback, escape is a symbol for liberation ....................................................... 86 Figure 16 Sweetback in black hat .............................................................................................. 98 Figure 17 Panthers in black leather. An erotics of power and defiance characterize both Sweetback and the Panthers ....................................................................................... 99 v CHAPTER 1 INTRODUCTION In Robert Stam’s (2004) article on Fernando Solanas and Octavio Getino’s The Hour of the Furnaces (La Hora de los hornos) (1968), he marks their film as a point of intersection of the “aesthetic and the theoretico-political” avant-garde noting how "its experimental language is wedded to its political project" (254). Solanas and Getino mobilize all the techniques of avant- garde cinema to enliven their film. The minimalist aesthetics, he explains, is the “result of practical necessity as well as artistic strategy. Time and again one is struck by the contrast between the poverty of the original materials and the power of the final result” (261). But their film is representative of the avant-garde in political practice as well. The film, “rather than being hermetically sealed off from life, the text is a preamble to history and praxis, calling for accomplices rather than consumers” (257). This political avant-gardism is not dogmatic or didactic but relies on an “openness” to the production processes which “inflected their own ideological trajectory in ways that they themselves could not have fully predicted” (256). The film transcends the “self-expression of auteurism” and “voices the concerns of the mass movement” (266). If The Hours of the Furnaces is an intersection of two avant-gardes, to what extent do these two avant-gardes need each other? An artistic avant-garde without politics concludes Stam, supplies cultural novelty to the oligarchy and “risks becoming an institutionalized loyal opposition, the progressive wing of the establishment” (263). A political avant-garde without the aesthetic avant-garde is “equally retrograde” and reduces art “to a crude instrumentality in the service of a performed message… a ‘correct’ but formally nostalgic militancy” (266-267). The intersection of the two avant-gardes leads to the paradoxical idea of a “majoritarian