Transcript Charles Burnett
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Co-Produced with the Black Film Institute of the University of the District of Columbia the Vision
Co-produced with the Black Film Institute of the University of the District of Columbia the vision. the voice. From LA to London and Martinique to Mali. We bring you the world ofBlack film. Ifyou're concerned about Black images in commercial film and tele vision, you already know that Hollywood does not reflect the multi- cultural nature 'ofcontemporary society. You know thatwhen Blacks are not absent they are confined to predictable, one-dimensional roles. You may argue that movies and television shape our reality or that they simply reflect that reality. In any case, no one can deny the need to take a closer look atwhat is COIning out of this powerful medium. Black Film Review is the forum you've been looking for. Four times a year, we bringyou film criticiSIn froIn a Black perspective. We look behind the surface and challenge ordinary assurnptiorls about the Black image. We feature actors all.d actresses th t go agaul.st the graill., all.d we fill you Ul. Oll. the rich history ofBlacks Ul. Arnericall. filrnrnakul.g - a history thatgoes back to 19101 And, Black Film Review is the only magazine that bringsyou news, reviews and in-deptll interviews frOtn tlle tnost vibrant tnovetnent in contelllporary film. You know about Spike Lee butwIlat about EuzIlan Palcy or lsaacJulien? Souletnayne Cisse or CIl.arles Burnette? Tllrougll out tIle African cliaspora, Black fi1rnInakers are giving us alternatives to tlle static itnages tIlat are proeluceel in Hollywood anel giving birtll to a wIlole new cinetna...be tIlere! Interview:- ----------- --- - - - - - - 4 VDL.G NO.2 by Pat Aufderheide Malian filmmaker Cheikh Oumar Sissoko discusses his latest film, Finzan, aself conscious experiment in storytelling 2 2 E e Street, NW as ing on, DC 20006 MO· BETTER BLUES 2 2 466-2753 The Music 6 o by Eugene Holley, Jr. -
Film & Literature
Name_____________________ Date__________________ Film & Literature Mr. Corbo Film & Literature “Underneath their surfaces, all movies, even the most blatantly commercial ones, contain layers of complexity and meaning that can be studied, analyzed and appreciated.” --Richard Barsam, Looking at Movies Curriculum Outline Form and Function: To equip students, by raising their awareness of the development and complexities of the cinema, to read and write about films as trained and informed viewers. From this base, students can progress to a deeper understanding of film and the proper in-depth study of cinema. By the end of this course, you will have a deeper sense of the major components of film form and function and also an understanding of the “language” of film. You will write essays which will discuss and analyze several of the films we will study using accurate vocabulary and language relating to cinematic methods and techniques. Just as an author uses literary devices to convey ideas in a story or novel, filmmakers use specific techniques to present their ideas on screen in the world of the film. Tentative Film List: The Godfather (dir: Francis Ford Coppola); Rushmore (dir: Wes Anderson); Do the Right Thing (dir: Spike Lee); The Dark Knight (dir: Christopher Nolan); Psycho (dir: Alfred Hitchcock); The Graduate (dir: Mike Nichols); Office Space (dir: Mike Judge); Donnie Darko (dir: Richard Kelly); The Hurt Locker (dir: Kathryn Bigelow); The Ice Storm (dir: Ang Lee); Bicycle Thives (dir: Vittorio di Sica); On the Waterfront (dir: Elia Kazan); Traffic (dir: Steven Soderbergh); Batman (dir: Tim Burton); GoodFellas (dir: Martin Scorsese); Mean Girls (dir: Mark Waters); Pulp Fiction (dir: Quentin Tarantino); The Silence of the Lambs (dir: Jonathan Demme); The Third Man (dir: Carol Reed); The Lord of the Rings trilogy (dir: Peter Jackson); The Wizard of Oz (dir: Victor Fleming); Edward Scissorhands (dir: Tim Burton); Raiders of the Lost Ark (dir: Steven Spielberg); Star Wars trilogy (dirs: George Lucas, et. -
Ace in the Hole Discussion Guide
Film C L U B ACE IN THE HOLE The alternate title for Ace in the Hole is The Big Carnival, which tells you a little bit about the movie’s real feelings toward its main character, Chuck Tatum, played by (recently deceased) Kirk Douglas. Tatum is a journalist who’s down on his luck, who once was a star reporter at a big-city paper but has worked his way west, having been fired from 11 different newspapers for a range of transgressions ranging from libel to drunkenness to adultery. What we know about Tatum from the start is that if he ever had any scruples, he doesn’t anymore. Now he’s stuck at the Albuquerque Sun-Bulletin, sure he’s too good for everyone there, and eager to find a foothold that will help him work his way back into the spotlight. One day, he catches wind of a promising local scoop: a man who’s gotten trapped in a cave. Ace in the Hole is set in an era long before 24/7 cable news, but Tatum would fit in well today in our zillion-ring media circus. He immediately figures out how to turn the man’s unfortunate accident into a spectacle that will grab national headlines, and he does it. I don’t take Ace in the Hole to be an indictment of good old shoe-leather journalism. (That’s my profession, after all, and I have enormous admiration for colleagues who make very little money breaking their necks to track down stories that will bring about important change.) But I do think it has something to say to the time we live in, just as it did nearly 70 years ago -- that in the human heart lurks the desire to be recognized and celebrated and praised, to gain power for ourselves, even at the expense of someone else. -
It's a Conspiracy
IT’S A CONSPIRACY! As a Cautionary Remembrance of the JFK Assassination—A Survey of Films With A Paranoid Edge Dan Akira Nishimura with Don Malcolm The only culture to enlist the imagination and change the charac- der. As it snows, he walks the streets of the town that will be forever ter of Americans was the one we had been given by the movies… changed. The banker Mr. Potter (Lionel Barrymore), a scrooge-like No movie star had the mind, courage or force to be national character, practically owns Bedford Falls. As he prepares to reshape leader… So the President nominated himself. He would fill the it in his own image, Potter doesn’t act alone. There’s also a board void. He would be the movie star come to life as President. of directors with identities shielded from the public (think MPAA). Who are these people? And what’s so wonderful about them? —Norman Mailer 3. Ace in the Hole (1951) resident John F. Kennedy was a movie fan. Ironically, one A former big city reporter of his favorites was The Manchurian Candidate (1962), lands a job for an Albu- directed by John Frankenheimer. With the president’s per- querque daily. Chuck Tatum mission, Frankenheimer was able to shoot scenes from (Kirk Douglas) is looking for Seven Days in May (1964) at the White House. Due to a ticket back to “the Apple.” Pthe events of November 1963, both films seem prescient. He thinks he’s found it when Was Lee Harvey Oswald a sleeper agent, a “Manchurian candidate?” Leo Mimosa (Richard Bene- Or was it a military coup as in the latter film? Or both? dict) is trapped in a cave Over the years, many films have dealt with political conspira- collapse. -
W Talking Pictures
Wednesday 3 June at 20.30 (Part I) Wednesday 17 June at 20.30 Thursday 4 June at 20.30 (Part II) Francis Ford Coppola Ingmar Bergman Apocalypse Now (US) 1979 Fanny And Alexander (Sweden) 1982 “One of the great films of all time. It shames modern Hollywood’s “This exuberant, richly textured film, timidity. To watch it is to feel yourself lifted up to the heights where packed with life and incident, is the cinema can take you, but so rarely does.” (Roger Ebert, Chicago punctuated by a series of ritual family Sun-Times) “To look at APOCALYPSE NOW is to realize that most of us are gatherings for parties, funerals, weddings, fast forgetting what a movie looks like - a real movie, the last movie, and christenings. Ghosts are as corporeal an American masterpiece.” (Manohla Darghis, LA Weekly) “Remains a as living people. Seasons come and go; majestic explosion of pure cinema. It’s a hallucinatory poem of fear, tumultuous, traumatic events occur - projecting, in its scale and spirit, a messianic vision of human warfare Talking yet, as in a dream of childhood (the film’s stretched to the flashpoint of technological and moral breakdown.” perspective is that of Alexander), time is (Owen Gleiberman, Entertainment Weekly) “In spite of its limited oddly still.” (Philip French, The Observer) perspective on Vietnam, its churning, term-paperish exploration of “Emerges as a sumptuously produced Conrad and the near incoherence of its ending, it is a great movie. It Pictures period piece that is also a rich tapestry of grows richer and stranger with each viewing, and the restoration [in childhood memoirs and moods, fear and Redux] of scenes left in the cutting room two decades ago has only April - July 2009 fancy, employing all the manners and added to its sublimity.” (Dana Stevens, The New York Times) Audience means of the best of cinematic theatrical can choose the original version or the longer 2001 Redux version. -
Spike Lee: Avant-Garde Filmmaker
Ayana McNair Avant-Garde Cinema CTCS 518, David James Fall 2004 12.09.04 Spike Lee: Avant-Garde Filmmaker Spike Lee came into mainstream consciousness with 1986’s She’s Gotta Have It. Since then, he has enjoyed a long and illustrious career as a filmmaker, writing, directing, producing, and starring in several very successful pictures that have highlighted some aspect of Black life in America. Films such as Do the Right Thing, School Daze, Jungle Fever, Bamboozled, and Malcolm X have catapulted Spike Lee into international stardom, making him one of the most, if not the most, notorious Black filmmakers of today. Arguably, he has reached the status of cultural icon in this country, evidenced by a parody of him on “The Simpsons”; as we know, an appearance on “The Simpsons” is the true sign that you’ve “made it.” Spike Lee’s films typically explore some issue prevalent in the Black community. Spike Lee’s rise to fame can be attributed to his bold and daring manner of dealing with issues previously unexplored in the mainstream. She’s Gotta Have It, his debut feature, explored intraracial dating, female promiscuity, and sexual power relations. ‘88’s School Daze again looked at intraracial relations, this time bringing to light the topic of skin tone and color bias within the Black community (that is, light-skinned Blacks versus dark-skinned) and the deep-seated tensions surrounding this issue. 1991 saw the release of Jungle A. McNair 1 Fever, the film that, arguably, catapulted Wesley Snipes and Samuel L. Jackson to stardom; in Jungle Fever, we got Spike Lee’s take on, this time, interracial dating, between a Black man and a white woman, and the tension surrounding such relationships. -
Neo-Realism Meets the Blues in Charles Burnett's Killer
NEO-REALISM MEETS THE BLUES IN CHARLES BURNETT’S KILLER OF SHEEP Keith Mehlinger Morgan State University “…the very existence of the blues tradition is irrefutable evidence that those who evol- ved it respond to the vicissitudes of the human condition not with hysterics and desperation, but through the wisdom of poetry informed by pragmatic insight” (Murray, 1996: 208-209). Although little known outside of critics’ circles and dedicated cineastes, Charles Burnett’s Killer of Sheep (1977) “remains to this day a near mythic object, one of the first fifty films inducted into the Library of Congress’s National Film Registry” (Foundas, Independent Lens: Charles Burnett, in Kapsis (ed.) 2011:138). The film “tenderly recounts a few days in the life of a slaughterhouse worker, Stan (Henry G. Sanders), whose existence is as bounded by invisible threads of hopelessness as that of the sheep that he is forced to kill each day” (Hozic, The House I live In: An Interview with Charles Burnett, in Kapsis, 2011: 75). During its brief theatri- cal release in 1977, the New York Times critic Janet Maslin dismissed Killer of Sheep as “ama- teurish” and ‘boring’. Since then, the film has won awards at festivals and “acquired honorary protection by the National Film Registry accorded to a select few ‘masterpieces’ such as Citi- zen Kane, and aided its author in winning a prestigious John D. and Catherine T. MacArthur Fellowship”, popularly known as the “genius award” (Hozic, 2011: 75). In addition to being selected as one of America’s fifty most culturally significant films, the film was named one of the “100 Most Influential Films of All Time” by the National Society of Film and gained critical acclaim in Europe. -
And the Ship Sails On
And The Ship Sails On by Serge Toubiana at the occasion of the end of his term as Director-General of the Cinémathèque française. Within just a few days, I shall come to the end of my term as Director-General of the Cinémathèque française. As of February 1st, 2016, Frédéric Bonnaud will take up the reins and assume full responsibility for this great institution. We shall have spent a great deal of time in each other's company over the past month, with a view to inducting Frédéric into the way the place works. He has been able to learn the range of our activities, meet the teams and discover all our on-going projects. This friendly transition from one director-general to the next is designed to allow Frédéric to function at full-steam from day one. The handover will have been, both in reality and in the perception, a peaceful moment in the life of the Cinémathèque, perhaps the first easy handover in its long and sometimes turbulent history. That's the way we want it - we being Costa-Gavras, chairman of our board, and the regulatory authority, represented by Fleur Pellerin, Minister of Culture and Communication, and Frédérique Bredin, Chairperson of the CNC, France's National Centre for Cinema and Animation. The peaceful nature of this handover offers further proof that the Cinémathèque has entered into a period of maturity and is now sufficiently grounded and self-confident to start out on the next chapter without trepidation. But let me step back in time. Since moving into the Frank Gehry building at 51 rue de Bercy, at the behest of the Ministry of Culture, the Cinémathèque française has undergone a profound transformation. -
Liquid Blackness Reflects on the Expansive Possibilities of the L.A
Georgia State University ScholarWorks @ Georgia State University Communication Faculty Publications Department of Communication 2015 Encountering the Rebellion: Liquid Blackness Reflects on the Expansive Possibilities of the L.A. Rebellion Films Alessandra Raengo Georgia State University, [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/communication_facpub Part of the Communication Commons Recommended Citation Alessandra Raengo. “Encountering the Rebellion: liquid blackness reflects on the expansive possibilities of the L.A. Rebellion films,” in L.A. Rebellion: Creating a New Black Cinema, ed. Allyson Nadia Field, Jan- Christopher Horak, Jacqueline Stewart, pp. 291-318. University of California Press, 2015. This Book Chapter is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Faculty Publications by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. L.A. Rebellion Creating a New Black Cinema E D IT E D BY Allyson Nadia Field, Jan-Christopher Horak, and Jacqueline Najuma Stewart 15 UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www .ucpress.edu. University of California Press Oakland, California © 2015 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data L.A. Rebellion : creating a new black cinema/edited by Allyson Nadia Field, Jan-Christopher Horak, and Jacqueline Najuma Stewart, pages cm Includes bibliographical references and index. -
Loft Film Fest Staff SUPPORTING SPONSORS
THIS GUIDE PROVIDED BY THE LOFT CINEMA AND ZOCALO MAGAZINE Loft Film Fest FULL SCHEDULE LFF 12-13 2018 Loft Film Fest Sponsors SHORT FILM PROGRAMS LFF 18-19 IN COMPETITION LFF 20-22 TITLE SPONSORS Get your Tickets FILM FESTIVAL PASS General: $150 Loft Members: $125 FILMS General: $10 Loft Members: $8 PRESENTING SPONSORS OFFICIAL FEST SITE LoftFilmFest.org SCREENINGS TAKE PLACE AT The Loft Cinema 3233 E. Speedway Blvd. Tucson, AZ 85716 CONTACT [email protected] (520) 795-0844 Loft Film Fest Staff SUPPORTING SPONSORS FESTIVAL EXECUTIVE DIRECTOR Peggy Johnson FESTIVAL DIRECTORS J.J. Giddings, Jeff Yanc MANAGING DIRECTOR Zach Breneman FESTIVAL PROGRAMMING CONSULTANTS PROGRAM SPONSORS Aurélie Gomes, Sarah Gonzales, Debi Chess Mabie, Maggie Mackay, Mike Plante, Ernie Quiroz, Nikki Sanchez FINANCE DIRECTOR Jonathan Kleefeld ART DIRECTORS Ben Mackey, Matt McCoy SPONSORSHIP DIRECTOR Amber Kleefeld FILM SPONSORS DIRECTOR OF EDUCATION & ENGAGEMENT Shawna Dacosta GUEST RELATIONS Daniela Ontiveros DIRECTOR OF THEATRE OPERATIONS Jason Denholm ASSISTANT MANAGERS IN-KIND DONATIONS Blaine Austin, Ray Borboa, Becky Hall, Pedro Arizona Inn, Cafe Desta, A Priori Distribution, Tumerico, AZ Daily Robles-Hill, Brenda Rodriguez, A.J. Simon Star, Tucson Tamales THIS GUIDE PROVIDED BY THE LOFT CINEMA AND ZOCALO MAGAZINE Loft Film Fest LFF 04 The Lofty Achievement Award The Loft Film Fest is awarding 2 Lofty Awards this year. The Lofty is presented each year at the Loft Film Fest to an individual whose career and body of work have The Loft Film Fest was proud to receive a $20,000 Art significantly contributed to the world of cinema, and Works grant from the National Endowment for the Arts for who continues to inspire, entertain and enlighten our 2018 edition – the only film festival in Arizona to receive audiences. -
101 Films for Filmmakers
101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers. -
Charles Burnett: to SLEEP with ANGER (1990, 102M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
November 12: 2019 (XXXIX: 12) Charles Burnett: TO SLEEP WITH ANGER (1990, 102m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Charles Burnett WRITING Charles Burnett PRODUCERS Thomas S. Byrnes, Caldecot Chubb, and Darin Scott MUSIC Stephen James Taylor CINEMATOGRAPHY Walt Lloyd EDITING Nancy Richardson In 2017 the National Film Preservation Board, USA, selected the film for the National Film Registry. CAST Danny Glover...Harry Paul Butler...Gideon DeVaughn Nixon...Sunny Mary Alice...Suzie Reina King...Rhonda Cory Curtis...Skip Richard Brooks...Babe Brother UCLA thesis film Killer of Sheep (1978), like Jenkins’s Sheryl Lee Ralph...Linda Moonlight, was “made on a tiny budget, was beautifully Carl Lumbly...Junior poetic…was about black people who didn’t have much Paula Bellamy...Mrs. Baker money, and…starred first-time, untrained actors.” Vonetta McGee...Pat McDonald notes that “Burnett was part of a movement of Wonderful Smith...Preacher filmmakers now known as the L.A. Rebellion” that began Ethel Ayler...Hattie when UCLA professor Elyseo J. Taylor began the Film Beverly Mickins...Neighbor and Social Change program, which some have seen Jimmy Witherspoon...Percy Moonlight’s best picture win as “mainstream recognition of the principles for which the L.A. Rebellion had long been CHARLES BURNETT (b. April 13, 1944 in Vicksburg, advocating” (McDonald). In a large leap from his low- Mississippi) is an American film director (29 credits), film budget beginnings, his third feature, To Sleep with Anger producer (7 credits), writer (16 credits), and editor (7 (1990), was his most expensive film yet, costing a still credits).