PNL 565 November 1989 a Dry White Season by Thabo Raphoto Starring Marlon Brando, Susan Sarandon, Zakes Mokae, Winston Ntshona and Donald Sutherland

Total Page:16

File Type:pdf, Size:1020Kb

PNL 565 November 1989 a Dry White Season by Thabo Raphoto Starring Marlon Brando, Susan Sarandon, Zakes Mokae, Winston Ntshona and Donald Sutherland A voice for peace and social justice in Central New York PNL 565 November 1989 A Dry White Season By Thabo Raphoto Starring Marlon Brando, Susan Sarandon, Zakes Mokae, Winston Ntshona and Donald Sutherland. Directed by Euzhan Paley. Rated R . At the Fayetteville A PRY Cinema 2. The film, "A Dry White Season" is based on the novel trt written by Andre Brink, a South African novelist. This movie reveals to the world the truth about how ordinary citizens coul d be moved to take up the struggle for justice -- independent of an y 5fA-19X other political organizations of th e day. Without overstating th e familiar political arguments for dismantling apartheid, the movi e distinguishes itself by telling the story from the viewpoint of th e disenfranchised South African Blacks . Euzhan Palcy, the first African-American woman to direc t a Hollywood movie, and the firs t to reflect on the wave of repressions that followed the student uprisings of June 16 , 1976, has done a realisti c portrayal of the negative impact of apartheid on both Black and White persons in that country. What contributed to Palc y bringing the story with such realism to the screen is, perhaps, her focusing on the capacity of individual citizens to respond to injustice as they experience it directly. The depth of insights coming out of this movie surpasses thousands of reams of documents produced so far on apartheid. Dry White Season continued on Founded in 1936 page 6 ISSN 0735-4134 Published monthly by the Syracuse Peace Counci l $yroevie Pewee Coma &e Dear Peace Council Volunteer corner The Silent Issue members, Well, we don't seem to b e SPC will be having a This is to all of you with getting much of a response from discussion group on Thursday, whom I've worked on various SPC all those prospective volunteers Nov. 16, at 7 p .m. on Kurdistan: functions over the past 3 1/2 out there. Maybe Syracuse' s The Silent Issue . years. As many of you know, I infamously chilly weather wil l The Kurds are an aboriginal was very sick last winter with lead you down to our warm house . people of the Middle East with mono. I am still not back to full Anyway, here's a run-down of history dating back 5000 years . health; the doctor says I have some different things you can do They are a people without a voice chronic fatigue syndrome . I am for SPC: and without a home . The 23 often tired and nauseous . Thus, I *Write letters to congresspeopl e million Kurds live in an area that have curtailed me involvement and socially un-consciou s stretches into Turkey, Iran, Iraq, with the Peace Council a great companies Syria, and the USSR. The deal. This time of illness has *redesign new promotional flyers governments of these countrie s given me an opportunity to look for SPC and the PNL fear Kurdish ethnic strength and at the priorities in my life an d *organize a fundraising concert , any activity towards self thus I am writing this letter to le t speaker or other program determination, and thus actively you know that I will no longer be *plan and speak at a Thursday try to suppress and assimilate the a part of the Peace Council . It's night discussion group (everyone Kurdish people. Today their not because I'm still sick . has something they can tell others existence is denied by Turkish It's because I felt that the about!) officials, they are massacred by Lord's calling me. to do different *offer your interio r chemical warfare in Iraq, bombe d things, and the number one item design/construction skills to help in Iran, and forced to be arabized . is know Him better. I thought I reorganize the library, Front Roo m in Syria . was leading a good Christian life , bookstore and office Join us at 924 Burnet Ave but I was wrong . I was defining *act as an SPC representative at for a video, slides, discussion and right and wrong by my own a local or national event Kurdish desserts . standards and who I thought God *reorganize the disorganized . I've come to believe that DON' CRUSH OUR FLOWERS was library THEY BELONG TO US. following our own ideas can lead THEY BELONG TO OUR CHILDREN *etc., etc., etc .. THEY BELONG TO ALL PEOPLE IN THE WHOLE WORLD to all kinds of trouble and that all Volunteers can come down THEY EVEN BELONG TO YOU. DO YOU UNDERSTAND? of us need God and His World , Thursday evenings, from 7 to 9 BUT YOU DONT UNDERSTAND. WHAT SHALL I DO TO MAKE YOU UNDERSTAND? the Bible, to help us discern what p.m. to take up these or any other WHAT SHALL I DO? is good -and what is bad . Some of tasks. Call us at 472-5478 if you you are probably thinking, "Wow, want to come down some other M. E. Bozarsian, Kurdish Poet has she ever been brainwashed! " time. We hope to see you SOON!!! No, I feel like Satan did that to JoAnn Stak me for years and no I am truly seeing the light, praise God! I met a wonderful Christian man last fall, and we plan to marry in the spring. What a blessing he's been to me! I have learned a great deal from all of you, and I hope to keep in touch with those of you with whom I worked closely. I hope that all of you will know everlasting peace someday . A bumpersticker that I saw over the summer summarize s my thoughts well: No Jesus, No Peace Know Jesus, Know Peace . God bless all of you, Mary Van De Weert 11/89 Peace Newsletter 3 Be a Part of Plowshare If you've ever been to the Plowshare Craftsfair, yo u There are other ways to soak in the atmosphere an d know it's impossible to spend only an hour or two there . really feel a part of Plowshare . Help set up the halls on . You check out the beautiful crafts in every nook an d Friday night, as craftspeople pour in — it's a magica l cranny of the Plymouth Church . You find old friends, new transformation . Or greet people at the door with a friendly . babies, smiles from familiar faces. From the upstair s welcome and a program . Staff the table of crafts donated , windows, you can take in a view of the large hall, hamme r to SPC; or if you're more outgoing, and tend toward th e dulcimer music warming the scene . And after surveyin g absurd, don an outrageous hat and hawk raffle tickets ! all the wares, it's time to pause for some hot and tasty And, of course, there's "restoring the house " — that's food, sit down and think over the tough decisions. A putting the church back to its usual self after the Craftsfai r gorgeous big basket for Mom? a painted t-shirt or a leathe r closes on Sunday. belt for your brother? those exquisite earrings for yourself? More than a Craftsfair Yes, you can participate in the creatio n of Plowshare. We guarantee you a sense o f community, feelings of goo d - will, and lots of fun . Plowshare is, after all, not just a Craftsfair. It's a celebration of talents , community, and the work of peace an d justice. Call Andy at SPC, 472-5478, or Barbar a Floch at 424-6015 (don't be shy abou t leaving messages on their machines) and find out how you can be a part o f Plowshare . Children at Plowshare Young children are brought upstairs to the daycare space so parents can do thei r shopping in a relaxed mood . We want to offer this service to parents, and we wan t childcare to feel the Plowshare spirit, too . We are brainstorming ways we can help childcare feel more a part of Plowshare . But every year we find ourselves beggin g people to volunteer an hour or two i n childcare. Should we stop trying t o organize childcare? Let us know if yo u r want it to continue by calling SPC o r Saturday, Dec:2 loam 5 Barbara — and offering some of you r Plowshare time to share with the children. Sunday, Dec . 3 Noon"9 5 FREE ADMISSIONCHILD CARE® ANNUAL PEACE COUNCIL. RAFFLE—`" We look forward to seeing you o n Plymouth Congregational Church December 2nd and 3rd at Plowshare ! rt 232 E ONONDAGA 5t Downtown Syracuse across from THE GALLERIES co. Wgrrcn St. ORGANIZED bytl* SYRACUSE PEACE COUNCI L 924 BURNET AVE, SVR .,N.'! 13203 (315) 472.-547S IV* 4 Peace Newsletter 11/89 eaGes Timothy still needs us Timothy Jacobs is still in prison, still owes $6,000 and still needs you . Timothy and Kysta did not get married on Oct . 1 due to hurricane Hugo. They have decided to wait until May 12 when they can have the wedding they had originally planned. Timothy can use the Charlotte address of his cousin as a home address so that he will be sent there rather than back to Robeson Count y when he is released. He expects to be released on parole by Christmas . Letters to the parole board and his attorney, James Parrish, are still necessary, to insure that this will indeed happen . A video of Robeson County will be shown at 12:15 p.m. Nov. 5 at May Memorial Unitarian Society.
Recommended publications
  • M a Dry White Season
    A DRY WHITE SEASON ade in 1989, A Dry White Season , things straight. He hires a lawyer, Ian this first ever release of the score, we used a searing indictment of South Africa Mackenzie (Brando), a human rights attor - only score cues and those cues are as they Munder apartheid , was a superb, riv - ney who knows the case is hopeless but were originally written and recorded. The eting film that audiences simply did not who takes it on anyway. The case is dis - film order worked beautifully in terms of dra - want to see, despite excellent reviews. Per - missed, more people die, Du Toit is threat - matic and musical flow. We’ve included two haps it was because South Africa was still ened, he is abetted in his political bonus tracks – alternate versions of two in the final throes of apartheid and the film awakening by a reporter (Susan Sarandon), cues, which bring the musical presentation was just too uncomfortable to watch. Some - has his garage bombed, and has his wife to a very satisfying conclusion. times people need distance and one sus - and daughter turn against him. Only his pects that if the film had come out even a young son knows that what Du Toit is trying Dave Grusin is one of those composers decade later it would have probably been to do is right. Eventually, gathering affidavits who can do everything. And he has – from more successful. As it is, over the years from many people, he is able to outwit the dramatic film scoring to his great work in tel - people have discovered it and been truly af - secret police and have the documents de - evision (It Takes A Thief, Maude, Good fected by its portrayal of racial turmoil in a livered to a newspaper, but in the end it Times, Baretta, The Name Of The Game, country divided and the way the film was does no real good.
    [Show full text]
  • MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
    The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953).
    [Show full text]
  • Ufahamu: a Journal of African Studies
    UCLA Ufahamu: A Journal of African Studies Title Andre Brink's White Female Anti-Apartheid Rebels Permalink https://escholarship.org/uc/item/2zz5w1kf Journal Ufahamu: A Journal of African Studies, 26(2-3) ISSN 0041-5715 Author Diala, Isidore Publication Date 1998 DOI 10.5070/F7262-3016620 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Andre Brink's White Female Anti-Apartheid Rebels Isidore Diala Roben Young has argued that the attempt at the decolonization of European thought, especially of historiography, is characteristic of modernism ( 1990: 118). Locating the basic intellectual inspiration of this post World War ll anti-colonization in Fanon's The Wretched of the Earth, Young writes that given Fanon's insight that history is man's creation, Fanon's work demonstrates the objectification and condemnation to immobility and silence of the men and women who are the objects of that history (120). The great irony, Young laments, is that humanism, exalted among the highest values of European c ivilization, provided the justification for colonial appro­ priation, excluding the "native" and "women" from its highly po­ liticized category of ··man•· ( 12 1). Andre Brink, himself an Afrikaner, has offered a sustained insight into the Afrikaner establjshment's creations of myths to jus­ tify the objectification and thus dehumanization of the Black Other. In the Brink oeuvre, for the White as well as for the Black, the recog­ nition of the common humanity of all men is treated as the attainment of a revolutionary political consciousness. Brink equally presents rebellion against apartheid as an affumation of humanity.
    [Show full text]
  • The Sports Film
    THE SPORTS FILM GAMES PEOPLE PLAY B RUCE BABINGTON WALLFLOWER LONDON and NEW YORK Sports_film_pages.indb 3 15/1/14 15:03:46 INTRODUCTION: START OF PLAY A few introductory words about Invictus Invictus (Clint Eastwood, 2010) is a useful point to begin a short account of the sports film. A recent, high profile production, with two actors (Morgan Freeman as Nelson Mandela and Matt Damon as François Pienaar, the cap- tain of the South African rugby team) nominated for Academy Awards, and a major contemporary American director in Eastwood, it attests both to the contemporary prestige of the proliferating sports film, and to the interna- tionalising of the genre. Films such as Cry Freedom (Richard Attenborough, 1987), Cry the Beloved Country (Darrell Roodt, 1995), The Power of One (John G. Avildsen, 1992), A Dry White Season (Euzhan Palcy, 1989), and Goodbye Bafana (Billie August, 2007), demonstrate the contemporary cinema’s fascination with the South African apartheid regime and its fall, and with the figure of Nelson Mandela, widely seen as one of the political heroes of our time. Another film about this era might have been expected, but hardly a Hollywood production based on the 1995 Rugby World Cup, rugby being a lower tier sport in the US (the largely forgotten progenitor of American football), and Hollywood faithfully reflecting American parochial- ism as regards other nations’ sports. Like many of the most memorable sports films, Invictus through its sports narrative addresses not just sporting matters but wider issues, not implicitly as many do, but very explicitly, thus providing an overt opening example of the genre’s workings.
    [Show full text]
  • Black Hollywood Films, Filmmakers, and Finances
    City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 6-2021 Remaking Cinema: Black Hollywood Films, Filmmakers, and Finances Kiana A. Carrington The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4405 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] REMAKING CINEMA: BLACK HOLLYWOOD FILMS, FILMMAKERS, AND FINANCES by KIANA CARRINGTON A master’s thesis submitted to the Graduate Faculty in Data Analysis and Visualization in partial fulfillment of the requirements for the degree ofMaster of Science, The City University of New York 2021 © 2021 KIANA CARRINGTON All Rights Reserved ii Remaking Cinema: Black Hollywood Films, Filmmakers, And Finances by Kiana Carrington This manuscript has been read and accepted for the Graduate Faculty in Data Analysis and Visualization in satisfaction of thethesis requirement for the degree of Master of Science. Date Aucher Serr Thesis Advisor Date Matthew Gold Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Remaking Cinema: Black Hollywood Films, Filmmakers, And Finances by Kiana Carrington Advisor: Aucher Serr The goal of my project was to create a dataset ofblack film that can be used for analysis of fiscal trends in black film. It includes the estimated budget, domestic and worldwide box office numbers for over 700 American black films. I defined black films as those that centered on African American stories and African American characters, or were made by Black filmmakers.
    [Show full text]
  • A Dry White Season (1989)
    Diversity Literacy Week 8 – Race Group Assignment 3 – A Dry White Season (1989) “In A Dry White Season, Donald Sutherland portrays the character of Ben Du Toit, a South African school teacher. The story takes place in 1976, around the Soweto Riots. The story begins when a gardener at Ben's school, a black man named Gordon, seeks his help while investigating the death of his son during the Riots. Like many South African whites, Ben refuses to get involved in the racial divides that have been tearing the country apart, thinking that Gordon's claims against the white minority government are unfounded. Things change when Ben sees firsthand the brutality by his own race against blacks, particularly when he sees the dead body of Gordon at the morgue not long after being tortured at the hands of the secret, corrupt government police. Gordon's wife, Emily, is also killed later, and also under suspicious circumstances.” Extract from http://en.wikipedia.org/wiki/A_Dry_White_Season Please read the questions below before the film starts. Think about the questions as you watch the film and then as a group discuss the Group Assignment questions at the end and together formulate an answer. This is an academic piece, proper referencing required. Clip 1: The film opens with scenes depicting scenes from South Africa 1976 [00:00 – 25:50] Clip 2: Gordon Ngubane is dead. Ben du Toit having seen his body, and realizing he was tortured, takes the matter to court. The court case is a farce and du Toit seeing this starts to realise how naïve he has been.
    [Show full text]
  • Representing South Africa: Apartheid from Print to Film
    University of Pennsylvania ScholarlyCommons Departmental Papers (Landscape Architecture) Department of Landscape Architecture 2-1991 Representing South Africa: Apartheid from Print to Film Victoria K. Carchidi University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/land_arch_papers Carchidi, Victoria K., "Representing South Africa: Apartheid from Print to Film" (1991). Departmental Papers (Landscape Architecture). 5. https://repository.upenn.edu/land_arch_papers/5 Originally published in: Carchidi, V. (1991). Representing South Africa: Apartheid from Print to Film. Film & History (03603695), 21(1), 20-27. Publisher URL: http://www.uwosh.edu/filmandhistory/ This paper is posted at ScholarlyCommons. https://repository.upenn.edu/land_arch_papers/5 For more information, please contact [email protected]. Representing South Africa: Apartheid from Print to Film Abstract The article presents information on apartheid in South African motion pictures. "Cry Freedom," "A World Apart," "A Dry White Season" -- three major films on South Africa eleasedr within two years of each other -- share two striking facts. In each a black man is arrested, detained, tortured, and killed by South African police; and in each the focus is on apartheid's impact on its central white character. The three films under discussion doubly refine South Africa, as they are based on texts that span the range of print media: Donald Woods' autobiographical, journalistic, book "Biko," Shawn Slovo's semi-autobiographical screenplay, "A World Apart," and André Brink's straightforward fictional novel, "A Dry White Season." Each author writes from memories of living in South Africa, drawing upon the authority of having been there, having felt apartheid at work.
    [Show full text]
  • Ladysmith Black Mambazo & Vusi Mahlasela
    Ladysmith Black Mambazo & Vusi Mahlasela Study Guide Table of Contents 1. Welcome ...................................................................................3 2. Theater Etiquette ....................................................................4 3. Unit-Long Understanding Goals ............................................5 Each section includes questions for understanding (at the beginning) and exercises (at the end). These can be used to help students integrate the material presented into subjects they are already studying in the classroom, and are designed to meet some of the requirements of the Reading/Language Arts Framework and Visual and Performing Arts Content Standards for California Public Schools.* 4. About the SchoolTime Program .............................................7 5. About the Artists .....................................................................8 6. About the Art Form: Isicathamiya .......................................17 7. History: South Africa ...........................................................23 8. Teacher Evaluation Form .....................................................28 9. Student Evaluation Form .....................................................29 * Material contained in this Study Guide can be used to implement lessons that meet the Visual and Performing Arts content standards for California public schools. A full list of VAPA standards and content standards for related disciplines such as history and social studies can be found on line at: http://www.cde.ca.gov/be/st/ss/index.asp
    [Show full text]
  • Apartheid Spies: the Character, the Reader, and the Censor in André Brink’S a Dry White Season
    Apartheid Spies: The Character, the Reader, and the Censor in André Brink’s A Dry White Season by Giuliana Iannaccaro It’s like living in an aquarium, […] your every move scrutinized by eyes watching you through glass and water, surveying even the motion of your gills as you breathe. André Brink, A Dry White Season (1984: 222) A Dry White Season is no spy fiction in the strict sense of the word. Published in the late 1970s, at the beginning of the direst period in the history of apartheid South Africa, it depicts the struggle of a white family man and schoolteacher against the oppressive but elusive power of the Johannesburg Security Police. A politically committed novel, therefore, which is still shocking thirty-five years after its publication (1979) for its exposure of the brutalities of apartheid. Rather than focusing on intrigues involving major powers and international criminal networks, André Brink’s narrative touches the sore spot of the utter destruction of the ordinary life of individuals in the grip of power, and of the dissolution of their family bonds – be they representatives of a black oppressed majority, or of a white indignant minority desperately trying to ‘put things right’. Ben Du Toit, the main character of A White Dry Season, is very far from the Saggi/Ensayos/Essais/Essays N. 11 – 05/2014 69 lightness and witty irony which characterizes the perhaps most popular fictional spy, Ian Fleming’s James Bond; and yet, the name of Bond is ironically evoked in Brink’s novel, when Ben’s daughter scornfully compares her middle-aged and inexperienced father to the master of espionage: “Suzette burst out laughing before he’d finished.
    [Show full text]
  • UNE SAISON BLANCHE ET SÈCHE De Euzhan PALCY
    UNE SAISON BLANCHE ET SÈCHE de Euzhan PALCY FICHE TECHNIQUE Titre original : A dry white season Pays : USA Durée : 1h46 Année : 1989 Genre : Drame Scénario : Colin WELLAND, Euzhan PALCY, d’après le roman d’André BRINK (Ed. Stock) Directeur de la photographie : Kevin PIKE, Pierre-William GLENN Chef décorateur : John FENNER Musique : Dave GRUSIN Coproduction : Metro Goldwyn Mayer / Star Partners II Ltd. / Davros Films Distribution : UIP Interprètes : Donald SUTHERLAND (Benjamin Du Toit), Janet SUZMAN (Susan Du Toit), Zakes MOKAE (Stanley Makhaya), Jürgen PROCHNOW (Capitaine Stolz), Susan SARANDON (Melanie Bruwer), Marlon BRANDO (Ian Mc Kenzie, l’avocat) Sortie : 8 novembre 1989 SYNOPSIS Afrique du Sud, 1976. Benjamin Du Toit, pacifique professeur d’Histoire dans un collège de Johannesburg, vit entre sa femme et ses deux enfants l’existence ordinaire d’un Afrikaner. Jonathan, fils de son jardinier noir Gordon Ngubene, disparaît après avoir participé à une manifestation de lycéens. Ben intervient alors, sur la demande de Gordon. Il apprend alors que l’enfant a été tué et demande le concours de Mc Kenzie, célèbre avocat anti-ségrégationniste. Gordon, qui enquête de son côté, est arrêté et meurt sous la torture. Au tribunal, Mc Kenzie cherche à confondre la capitaine Stolz, chef de la « section spéciale », mais le juge conclut au suicide. Ben décide alors d’aller plus loin et prend contact avec des militants noirs. La police le persécute, sa femme, sa fille, le quittent, ses collègues l’évitent et il perd son emploi. Alors que seul son fils Johan est resté avec lui, il est assassiné par Stolz, lequel est abattu par un Noir passé à l’action violente.
    [Show full text]
  • A Dry White Season Director: Elzhan Palcy 1989 (107’)
    A Dry white season Director: Elzhan Palcy 1989 (107’) Ben du Toit (Sutherland) is a white history teacher who lives comfortably with his family in Johannesburg. His tranquil life is unscathed by the Soweto uprising in the summer of 1976 when South African police murder black schoolchildren during a peaceful demonstration. Then Gordon, his gardener for 15 years, asks him to help locate his young son who disappeared following the demonstration. Then Gordon disappears. Based on the novel by André Brink, A Dry White Season imagines the challenges and consequences facing those who dare question the prevailing system. Is it better to close your eyes and enjoy the benefits that the system offers or challenge the system for the injustices that bring those benefits? Vocabulary and Expressions Baba: Respectful term used to father figure. Baasie: Form of address blacks sometimes felt compelled to use when speaking to whites. Townships: During the Apartheid Era blacks were evicted from properties that were in areas designated as "white only" and forced to move into townships which were for “non-whites”. Kaffir: Racial or ethnic slur used against blacks in South Africa. Very offensive. Give something up: Stop doing something; stop being involved in something. Counsel: Legal advice given by a lawyer. My counsel to you is to give it up. Chuck the lot: Completely stop a particular activity you are involved in. My advice to you is to chuck the lot. Slaughterhouse: A place where animals are taken to be killed. More lines from the film When the system's threatened they'll do anything to maintain it.
    [Show full text]
  • A Pan-African Perspective on Apartheid, Torture and Resistance in Euzhan Palcy’S a Dry White Season
    Maingard, J. (2019). A Pan-African Perspective on Apartheid, Torture and Resistance in Euzhan Palcy’s A Dry White Season. Black Camera, 11(1), 201-213. https://doi.org/10.2979/blackcamera.11.1.11 Publisher's PDF, also known as Version of record Link to published version (if available): 10.2979/blackcamera.11.1.11 Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It first appeared online via Indiana University Press at https://muse.jhu.edu/article/741463 . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ A Pan-African Perspective on Apartheid, Torture, and Resistance in Euzhan Palcy's A Dry White Season Jacqueline Maingard Black Camera, Volume 11, 2019-2020 (The New Series), Number 1, Fall 2019 , pp. 201-213 (Article) Published by Indiana University Press For additional information about this article https://muse.jhu.edu/article/741463 Access provided at 10 Dec 2019 16:37 GMT from Bristol University Close-Up: Caribbean Cinema as Cross-Border Dialogue A Pan-African Perspective on Apartheid, Torture, and Resistance in Euzhan Palcy’s A Dry White Season Jacqueline Maingard Abstract This article starts from the premise that Euzhan Palcy’s two films Rue cases nègres / Sugar Cane Alley (1983) and A Dry White Season (1989) share a set of thematic equiva- lences that represent postcolonial perspectives on Pan-African identities and experi- ences.
    [Show full text]