Take the Stage

Total Page:16

File Type:pdf, Size:1020Kb

Take the Stage A WATCHUNG COMMUNICATIONS, INC. PUBLICATION The Westfield Leader and THE TIMES of Scotch Plains – Fanwood Thursday, January 18, 2001 Page 19 Artist of MyMy TwoTwo CentsCents the Week It’s 8 p.m. at the American Music Awards and We Ask: & ‘Britney Spears, Do You Know Where Your Clothes Went?’ By MICHELLE H. LePOIDEVIN And how could I be so remiss in paw her while she sings half- Specially Written for The Westfield Leader and The Times thinking that Britney’s perfor- clad herself is an overreaction! “While I was doing the dishes mance of “Stronger” wasn’t bor- How could I be so sensitive? I this morning, I actually asked derline pornographic? What’s must be a prude. Why don’t I get myself if I’ll be able to watch wrong with me? Half-naked girls with the times? television tonight.” My mother in body stockings and glitter gy- Why don’t they get a con- settled down with her crocheting Take the Stage rating around Britney, trying to science and take a class in re- WITH KERRIANNE SPELLMAN CORT and reading materials, almost sponsible television pro- Spike Lee Joint fearful of what insane images gramming? Spike Lee Joint would flash before her as the At Moravian College, I gave channels changed. a speech against banning A Shot in the Dark (1957- ) After last Monday evening’s books. I loathed censorship in telecast of the American Music all of it’s forms. But, I knew By MICHELLE H. LePOIDEVIN Awards, mom has been suffer- Misses WCPs Mark Specially Written for The Westfield Leader and The Times there was a definite line that, ing from PBS. That’s Post- when crossed, was blatantly This Altanta, Ga. native knows Britney Syndrome for those of By KERRIANNE SPELLMAN CORT sionalism that WCP is so capable of offensive and abusive of one’s Specially Written for The Westfield Leader and The Times achieving. Understandably, they are how to make a name for himself. It’s you not yet familiar with the rights. called “genius.” In fact, when Spike WESTFIELD — For the second a community theater and one can’t pseudo-medical term. Her bout One thing is so clear it offering of their 2000-2001 season, Lee Joint first came onto the movie began when she was exposed to expect to see perfection every time. making scene, he seemed to take an screams in triple red neon. Westfield Community Players However, it is discouraging to see the flesh fest on ABC. Britney, Television programmers (WCP) is staging the farcical mys- mediocre work in a theater that has industry filled with boredom and who co-hosted the catastrophe toss it up in the air, landing it upside and executives aren’t afraid tery/comedy, A Shot in the Dark. so much to offer. down with an exciting crash. The with equally offensive rapper L. of offending you. They’ve On the heels of their brilliant and While there may be many factors street flavor, the edge and the reality L. Cool J., was prompted to shed lost sight of what it means professional season opener, The Last that caused this production to fall of his films are revolutionary ele- her pink gown for something a Night of Ballyhoo, A Shot in the short, including a last minute casting to entertain and provide Dark is stylistically very different ments that have made movies worth little less, well, a lot less. family programming. replacement, (who, ironically, is one appreciating again. “Is this really happening?” from Ballyhoo, and I am always im- of the stronger performers in the They’ve forgotten that chil- pressed with the choice of material play,) it is hard to understand why the The son of jazz bassist Bill Lee, Mom nearly dropped her cro- dren need an age of inno- husband of attorney Tonya Lewis that WCP presents. production is so dull. cheting needle in disgust and cence. Set in Paris, A Shot in the Dark and father of daughter Satchel and shock. So much for family pro- The director, Maurice J. Moran Jr., son Jackson, Spike craved a differ- While they are chasing the tells the tale of a naïve, but appealing has a terrific reputation and an im- gramming. cutting edge shock value, parlor maid who is found nude next pressive resume and it is not my ent field. A baseball field to be more It was 8 p.m. when most kids exact—the one called Shea where the needs of viewers have to the body of one of her lovers. intent to criticize his work or his the Mets play. He chose mass com- are parked before the tele to slipped their minds. Accused of murder, the endearing choices. Nevertheless, there are some munications at Morehouse College watch their favorite programs. Josefa professes her innocence to the basic tools that could have been used in Georgia as a major instead. As the camera panned over the newly-appointed Court Magistrate to enliven this production, and I can- He’s a contemporary kind of guy. teen queen’s body, young eyes who is handling her case. not help wonder why there wasn’t If was asked to direct Gone With the became filled with a whole lotta David Palladino’s While insisting that she is com- someone there to enforce them. Wind, the script would have been Britney. pletely innocent, Josefa is still will- First and foremost, pacing. Noth- tweaked – QUITE A BIT. For, Spike ing to go to jail to protect the identity ing kills a play faster than slow, Jennifer Lopez, who has been Music Corner of her current lover, a respected has no tolerance for racial intoler- the subject of a similarly themed methodic “line readings” that have ance and indifference. It’s his way of banker who happens to be her em- no heart. Anyone can read lines. The editorial, gave an innovative per- ployer. As lies are told and evidence guy selling hotdogs on the corner racial equality, or no way at all. formance. Though she overdosed A Review of Local Concerts She’s Gotta Have It, Crooklyn, amounts, the Magistrate finds him- can read lines. In the performance I Malcolm X, Do the Right Thing, on the lipsync, she was clothed and self believing that Josefa is innocent attended, the pacing was so slow and School Daze, Get on the Bus, Girl 6, 4 respectably dressed. Bravo for this. Zdenek Macal Busts and must then try to find the real uninteresting that you could have Little Girls and the revolutionary However, Dick Clark Produc- killer. driven trucks through some of the Summer of Sam have caused more tions, which sponsored the sleaze, Tchaikovsky 4 Written by Marcel Achard and pauses. A farce such as this requires creative tidal waves in Hollywood became the object of my ire. I adapted by Harry Kumitz, A Shot in an upbeat tempo in order to work. By DAVID PALLADINO the first movement, should have been the Dark first opened on Broadway than insignificant ripples. contacted the head of the PR De- Specially Written for The Westfield Leader and The Times An actor (or director) should never Spike is also author of “Best Seat brought more prominently to the fore. in October of 1961. A film version allow their committed hard work and partment, cited my credentials and NEW BRUNSWICK — The New Their intensity was forestalled in followed as well as many regional in the House: A Basketball Mem- mounted my soap box to sound- hours of rehearsal to be ruined by Jersey Symphony Orchestra (NJSO) sections where lesser ideas were high- and touring companies of this in- slow pacing, which is quite easy to oir,” which chronicles his passionate off. “The executive” responded and their Czech music director and avid admiration of the Knicks. lighted. nocuous “whodunit” comedy. fix. There is a simple exercise that is that no limits are placed on the Zdenek Macal are currently in the The ultimate tragedy in the evolv- WCP is a terrific company with taught in most acting schools that I When the previews and the trail- throes of their winter Tchaikovsky ers come across our television and performers – how they dress, what ing sonata structure of the movement enormous potential and has presented am aware of, and it is called a “speed they say or how they express them- festival — a month of Tchaikovsky came with the impotent culmination some absolutely wonderful work, through.” movie screens and the voice informs programming: concerts, sympo- that the film is “A Spike Lee Joint,” selves. She questioned my “un- of not one, but of both “tragic fff particularly the recent Ballyhoo, Prior to a live performance, the founded accusations” and said she siums, films and commentary. For perorations: one at the capitulation, which I admit is a tough act to follow. actors are asked to “speed through” we know we are in for something the passionate musical enthusiast or spellbinding. Our preconceptions did not consider Miss Brit’s per- and the other which clinched the The current production of A Shot the play, not stopping to think, not romantic musician, too much coda”(Joseph Horowitz). in the Dark gives an earnest try, but, taking unnecessary pauses, just basi- will be called into question, our bi- formance pornographic in nature. Tchaikovsky can never be enough. ases will be abolished and our con- Unfounded? Well, God gave me These recapitulation statements, unfortunately, the play never quite The Great One’s writing is im- Continued on Page 18 manages to reach the level of profes- Continued on Page 18 sciences will come alive with aware- two eyes and sound judgment, a mense, charged with emotion, tech- ness and social responsibility.
Recommended publications
  • Filmmaker Spike Lee, Songwriter and Musician Kirk Franklin Headline 2007-2008 University of Dayton Diversity Lecture Series
    University of Dayton eCommons News Releases Marketing and Communications 8-6-2007 Filmmaker Spike Lee, Songwriter and Musician Kirk Franklin Headline 2007-2008 University of Dayton Diversity Lecture Series Follow this and additional works at: https://ecommons.udayton.edu/news_rls Recommended Citation "Filmmaker Spike Lee, Songwriter and Musician Kirk Franklin Headline 2007-2008 University of Dayton Diversity Lecture Series" (2007). News Releases. 9564. https://ecommons.udayton.edu/news_rls/9564 This News Article is brought to you for free and open access by the Marketing and Communications at eCommons. It has been accepted for inclusion in News Releases by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. UNIVERSITY o Aug. 6, 2007 Contact: Teri Rizvi [email protected] 937-229-3241 DAITON NEWS RELEASE FILMMAKER SPIKE LEE, SONGWRITER AND MUSICIAN KIRK FRANKLIN HEADLINE 2007-2008 UNIVERSITY OF DAYTON DIVERSITY LECTURE SERIES DAYTON, Ohio - An all-star line-up of acclaimed artists and journalists - including filmmaker Spike Lee and Grammy Award-winning gospel musician Kirk Franklin- will tackle "The Responsibility of Media in a Global Society" during the University of Dayton's 2007-2008 Diversity Lecture Series. The season includes: • Maria Hinojosa, 7:30 p.m., Friday, Sept. 7, Boll Theatre, University of Dayton. Free and open to the public. Part of Hispanic Heritage Month. Award-winning journalist and author Maria Hinojosa is managing editor and host of Latino USA, a weekly program on NPR. She also is the senior correspondent for the Emmy Award­ winning PBS Newsmagazine NOW. Previously, she spent eight years at CNN, where she covered urban affairs.
    [Show full text]
  • Sam Pollard Is an Accomplished Feature Film and Television Video
    Sam Pollard is an accomplished feature film and television video editor, and documentary producer/director whose work spans almost thirty years. He recently served as Producer and Supervising Editor on the Spike Lee directed HBO documentary If God Is Willing and Da Creek Don’t Rise, a five year follow up to the Emmy and Peabody award winning When The Levees Broke. His first assignment as a documentary producer came in 1989 for Henry Hampton’s Blackside production Eyes On The Prize II: America at the Racial Crossroads. For one of his episodes in this series, he received an Emmy. Eight years later, he returned to Blackside as Co-Executive Producer/Producer of Hampton’s last documentary series I’ll Make Me A World: Stories of African-American Artists and Community. For the series, Mr. Pollard received The George Peabody Award. Between 1990 and 2010, Mr. Pollard edited a number of Spike Lee’s films: Mo’ Better Blues, Jungle Fever, Girl 6, Clockers, and Bamboozled. As well, Mr. Pollard and Mr. Lee co-produced a number of documentary productions for the small and big screen: Spike Lee Presents Mike Tyson, a biographical sketch for HBO for which Mr. Pollard received an Emmy, Four Little Girls, a feature-length documentary about the 1963 Birmingham church bombings which was nominated for an Academy Award and When The Levees Broke, a four part documentary that won numerous awards, including a Peabody and three Emmy Awards. Mr. Pollard completed as a producer/director Slavery By Another Name a 90-minute documentary for PBS that was in competition at the Sundance Festival in 2012 and also just completed editing the feature length documentary Venus and Serena..
    [Show full text]
  • Race on the Road: from the Periphery to the Centre in Jonathan Kaplan's Love Field
    RACE ON THE ROAD: FROM THE PERIPHERY TO THE CENTRE IN JONATHAN KAPLAN’S LOVE FIELD Carmen Indurain Eraso Universidad Pública de Navarra Following a general cinematic trend, the road movie genre in its beginnings relegated the representation of non-whites to the periphery. After analysing the general state of affairs of racial representation in the genre, we witness in the 1990s a timid but remarkable trend to produce “racial” road movies which vindicate the rights of central representation of racial minorities. This paper analyses a representative racial road film, Jonathan Kaplan’s Love Field (1992), in an attempt to show that the road movie’s generic conventions and traditional liberal pedigree may provide a context where the depiction of racial minorities and race relations may finally reach a central status. In the road movie we have an ideogram of human desire and the last ditch search for self, and who is more plagued for hunger and lostness than the socially disenfranchised? (Atkinson 1994:14). 1. RACE ON THE ROAD: A PERIPHERAL PRESENCE While it reminds us of the inner search, a basic trait of the road movie genre, this quotation by Michael Atkinson also makes the significant point that the socially marginalised are liable to experience an even greater need for this personal quest. As members of this underprivileged group together with women, non-whites can feel more intensely the “call to adventure”, to flee from an emotionally retarded society which has failed to integrate them satisfactorily. Thus, given their unfavourable condition in society which has traditionally allotted them a peripheral position as mere accessories to the white male, African Americans, Hispanics or Native ES 27 (2006-7): 75-94 76 CARMEN INDURAIN ERASO American Indians have started to find a central space of cinematic representation in the road genre.
    [Show full text]
  • Academy Invites 842 to Membership
    MEDIA CONTACT [email protected] July 1, 2019 FOR IMMEDIATE RELEASE ACADEMY INVITES 842 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 842 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. The 2019 class is 50% women, 29% people of color, and represents 59 countries. Those who accept the invitations will be the only additions to the Academy’s membership in 2019. Six individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2019 invitees are: Actors Adewale Akinnuoye-Agbaje – “Suicide Squad,” “Trumbo” Yareli Arizmendi – “A Day without a Mexican,” “Like Water for Chocolate” Claes Bang – “The Girl in the Spider’s Web,” “The Square” Jamie Bell – “Rocketman,” “Billy Elliot” Bob Bergen – “The Secret Life of Pets,” “WALL-E” Bruno Bichir – “Crónica de un Desayuno,” “Principio y Fin” Claire Bloom – “The King’s Speech,” “Limelight” Héctor Bonilla – “7:19 La Hora del Temblor,” “Rojo Amanecer” Juan Diego Botto – “Ismael,” “Vete de Mí” Sterling K. Brown – “Black Panther,” “Marshall” Gemma Chan – “Crazy Rich Asians,” “Mary Queen of Scots” Rosalind Chao – “I Am Sam,” “The Joy Luck Club” Camille Cottin – “Larguées,” “Allied” Kenneth Cranham – “Maleficent,” “Layer Cake” Marina de Tavira – “Roma,” “La Zona (The
    [Show full text]
  • Get on the Bus (1997) by Spike Lee
    Get On the Bus (1997) by Spike Lee NO SENSE PRETENDING IT'S OVER HARD TIMES JUST DON'T GO AWAY YOU GOTTA TAKE THAT CHIP OFF YOUR SHOULDER IT'S TIME YOU OPEN UP HAVE SOME FAITH NOTHIN' GOOD EVER COMES EASY AND ALL GOOD THINGS COME IN DUE TIME YES, THEY DO YOU GOTTA HAVE SOMETHIN' TO BELIEVE IN I'M TELLIN' YOU TO OPEN YOUR MIND HEE-EE-EE GOTTA PUT YOUR HEART ON THE LINE IF YOU WANNA MAKE IT RIGHT YOU'VE GOT TO REACH OUT AND TRY GOTTA PUT YOUR HEART ON THE LINE IF YOU WANNA GET IT R RHT GOTTA PUT IT ALL ON THE LINE MM-MMM YOU SEE YOURSELF IN THE MIRROR AND YOU DON'T LIKE WHAT YOU SEE OOH, AND THINGS AREN'T GETTING MUCH CLEARER DON'T YOU THINK IT'S TIME YOU GO FOR A CHANGE OHHH DON'T WASTE YOUR TIME ON THE PAST NO, NO IT'S TIME YOU LOOK TO THE FUTURE OHHH IT'S ALL RIGHT THERE IF YOU ASK THIS TIME IF YOU TRY MUCH HARDER YOU'LL BE THE BEST THAT YOU CAN BE OHHH GOTTA PUT YOUR HEART ON THE LINE IF YOU WANNA MAKE IT RIGHT YOU'VE GOT TO REACH OUT AND TRY GOTTA PUT YOUR HEART ON THE LINE IF YOU WANNA GET IT RIGHT GOTTA PUT IT ALL ON THE LINE IF YOU WANNA MAKE IT RIGHT AND YOU WANNA DO IT NOW NOTHING IN LIFE COMES FREE AND THAT'S JUST THE WAY IT IS NOW YOU GOTTA KNOW WHAT YOU GOT TO LIVE FOR GOTTA PUT YOUR HEART ON THE LINE YOU AND ME IF YOU'RE GONNA MAKE IT RIGHT YOU'VE GOT TO REACH OUT AND TRY YOU AND ME WHAT ?- YO, DOG, I AIN'T GOIN'.
    [Show full text]
  • A Spike Lee Joints Retrospective, Jun 29—Jul 10
    BAMcinématek and the Academy present By Any Means Necessary: A Spike Lee Joints Retrospective, Jun 29—Jul 10 Kicks off with a 25th anniversary screening of Spike Lee’s Do the Right Thing for Closing Night of BAMcinemaFest with Lee and cast in attendance 15 films in 35mm plus a rare 16mm print of Lee’s debut, Joe’s Bed-Stuy Barbershop: We Cut Heads The Wall Street Journal is the title sponsor for BAMcinemaFest, BAMcinématek, and BAM Rose Cinemas. Brooklyn, NY/May 22, 2014—From Sunday, June 29 through Thursday, July 10, BAMcinématek and the Academy of Motion Picture Arts and Sciences present By Any Means Necessary: A Spike Lee Joints Retrospective, a 12-day series spanning three decades and commemorating the 15th anniversary of BAMcinématek, which launched in 1999 with a survey of Lee’s career. The writer-director-actor’s consistently surprising work displays a boundless visual imagination, some of the most fearlessly intelligent discourse on race relations in American cinema, and an ability to infuse independent projects and big-budget blockbusters alike with his edgy, energetic style. From June 27—July 27, the Academy will also present a west coast retrospective of Lee’s work at the Academy’s Linwood Dunn Theater and the Bing Theater on the Los Angeles County Museum of Art campus. Kicking off the New York retrospective and closing BAMcinemaFest on June 29 is a 25th anniversary celebration of Lee’s Oscar®-nominated Do the Right Thing. The streets of Bed-Stuy boil in Lee’s tale of tensions run high on Brooklyn’s hottest day of the year.
    [Show full text]
  • CAAS-340 Syllabus
    CAAS 340, American Culture 340, English 411 By Any Means Necessary: Studying Spike Lee’s Films Professor Michael Awkward Tuesdays 3-6, Angell Hall G115 Office Hours, Location, and Phone Number: T 9-10, Th 10-11, Tisch 3062, 4-0444 This course will survey a selection of the feature films and documentaries of Spike Lee, and some of the scholarship these films – and the often-controversial Lee himself – have generated. We will begin with the 1986 release, She’s Gotta Have It (1986), which began what has been called a black (American) film renaissance, and end with his compelling 2006 releases, the blockbuster Inside Man and the acclaimed HBO documentary about the aftermath of Hurricane Katrina, When the Levees Broke. Our task will be to examine, among other topics, whether there are recurrent themes, points-of-view, attitudes, and stylistic flourishes that characterize what he calls a “Spike Lee Joint.” We will be particularly concerned with how dominant categories of identity -- race, class, sexuality, and gender – are treated within his corpus of films. In addition, we’ll explore the variety of critical responses to U.S. films generally, and to Lee’s releases in particular (especially newspaper, internet, and magazine reviews and scholarly essays). Required Texts: Paula J. Massood, editor, The Spike Lee Reader (Temple University Press) Films (to be streamed onto ctools site): She’s Gotta Have It (1986) Do the Right Thing (1989) Jungle Fever (1991) Malcolm X (1992) Clockers (1995) Get On the Bus (1996) 4 Little Girls (1997) He Got Game
    [Show full text]
  • Blues, Violence, and the Male Body in the Films of Spike Lee
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2005 Beating Songs: Blues, Violence, and the Male Body in the Films of Spike Lee. Mikal J. Gaines College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the Film and Media Studies Commons Recommended Citation Gaines, Mikal J., "Beating Songs: Blues, Violence, and the Male Body in the Films of Spike Lee." (2005). Dissertations, Theses, and Masters Projects. Paper 1593092170. https://dx.doi.org/doi:10.21220/m2-xm07-1r65 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. BEATING SONGS: BLUES, VIOLENCE, AND THE MALE BODY IN THE FILMS OF SPIKE LEE A Thesis Presented to The Faculty of the American Studies Program The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts By Mikal J. Gaines 2005 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Approved/by thejCommittee, June 2005 Arthur Knight, Chair Christy Bums Kimberls> L. Phillips To all my family, friends, and colleagues for their support throughout this process. iii TABLE OF CONTENTS Page Acknowledgements v Abstract vi Introduction 2 Chapter I. An Auteur’s Paradigm for Blues 5 Chapter II. A Song for Richie 10 Chapter III.
    [Show full text]
  • AM Augustwilson Prod Bios FINAL Rev011215
    Press Contact: Natasha Padilla, WNET, 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , http://instagram.com/pbsamericanmasters , #AugustWilsonPBS American Masters August Wilson: The Ground on Which I Stand Premieres nationwide Friday, February 20, 9-10:30 p.m. on PBS (check local listings) in honor of the 70 th anniversary of Wilson’s birth, 10 th anniversary of his death and Black History Month Production Biographies Sam Pollard Director and Producer Sam Pollard is an accomplished feature film and television video editor and a documentary producer-director whose work spans almost 30 years. He recently served as producer and supervising editor on the Spike Lee-directed HBO documentary If God Is Willing and Da Creek Don't Rise , a five-year follow-up to the Emmy- and Peabody Award-winning When the Levees Broke . His first assignment as a documentary producer came in 1989 for Henry Hampton’s Blackside production Eyes on the Prize II: America at the Racial Crossroads . For one of his episodes in that series, he received an Emmy. Eight years later, he returned to Blackside as co- executive producer of Hampton’s last documentary series, I'll Make Me A World: Stories of African-American Artists and Community . Pollard received a Peabody Award for the series. Between 1990 and 2010, Pollard edited a number of Spike Lee’s films: Mo’ Better Blues , Jungle Fever , Girl 6 , Clockers and Bamboozled .
    [Show full text]
  • Belknap Collection for the Performing Arts - the AFRICAN-AMERICAN CINEMA COLLECTION
    AFRICAN-AMERICAN CINEMA CINEMA AFRICAN-AMERICAN CINEMA The history of the African-American Cinema is a harsh timeline of racism, repression and struggle contrasted with film scenes of boundless joy, hope and artistic spirit. Until recently, the study of the "separate cinema" (a phrase used by historians John Kisch and Edward Mapp to describe the segregation of the mainstream, Hollywood film community) was limited, if not totally ignored, by writers and researchers. The uphill battle by black filmmakers and performers, to achieve acceptance and respect, was an ugly blot on the pages of film history. Upon winning his Best Actor Oscar for LILLIES OF THE FIELD (1963), Sidney Poitier accepted, on behalf of the countless unsung African-American artists, by acknowledging the "long journey to this moment." This emotional, heartbreaking and inspiring journey is vividly illustrated by the latest acquisition to the Belknap Collection for the Performing Arts - THE AFRICAN-AMERICAN CINEMA COLLECTION. The valuable research material, housed in this collection, includes over 300 pressbooks (illustrated campaign and advertising catalogs sent to theatre owners), press kits (media packages including biographies, promotional essays and illustrations), programs and over 1000 photographs and slides. The journey begins with the blatant racism of D.W. Griffith's THE BIRTH OF A NATION (1915), a film respected as an epic milestone, but reviled as the blueprint for black film stereotypes that would appear throughout the 20th century. Researchers will follow African-American films through an extended period of stereotypical casting (SONG OF THE SOUTH, 1946) and will be dazzled by the glorious "All-Negro" musicals such as STORMY WEATHER (1943), ST.LOUIS BLUES (1958) and PORGY AND BESS (1959).
    [Show full text]
  • Bell Hooks: Cultural Criticism and Transformation [Transcript]
    MEDIA EDUCATION FOUNDATIONChallenging media TRANSCRIPT BELL HOOKS CULTURAL CRITISICM & TRANSFORMATION BELL HOOKS—CULTURAL CRITISICM & TRANSFORMATION Produced & Directed by Sut Jhally Edited by: Mary Patierno, Sut Jhally & Harriet Hirshorn Editing & Production Assistance by: Sanjay Talreja Featuring an interview with bell hooks, Distinguished Professor of English at City College of New York. One of America’s most accessible public intellectuals, she is the author of fourteen books of commentary, criticism, & autobiography. Media Education Foundation © MEF 1997 2 PART ONE – On Cultural Criticism WHY STUDY POPULAR CULTURE? BELL HOOKS: The book that I've written that most try to talk to frame my concern with popular culture to a more general audience is the collection of essays Outlaw Culture. And in the beginning of that book what I say is that students from different class backgrounds and ethnicities would come to my classes and I would want them to read all this meta-linguistic theory of difference and otherness and they would say, 'well what does this have to do with our lives?' I found continually that if I took a movie and said, "Well did you go see this movie? And how do you think about it?" and I related something very concrete in popular culture to the kind of theoretical paradigms that I was trying to share with them through various work, people seem to grasp it more and not only that, it would seem to be much more exciting and much more interesting for everybody. Because popular culture has that power in everyday life. [Movie: Forrest Gump] My momma always said life was like a box of chocolates.
    [Show full text]
  • DO the RIGHT THING (1989) 120 Min
    November 28, 2006 XIII: 13 DO THE RIGHT THING (1989) 120 min Produced, Written and Directed by Spike Lee Cinematography by Ernest R. Dickerson Film Editing by Barry Alexander Brown Bill Lee...conductor: The Natural Spiritual Orchestra Branford Marsalis... tenor and soprano saxophone, The Natural Spiritual Orchestra Rosie Perez...choreographer Ossie Davis...Da Mayor Danny Aiello...Sal Giancarlo Esposito...Buggin Out Richard Edson...Vito Spike Lee...Mookie Ruby Dee...Mother Sister Bill Nunn...Radio Raheem John Turturro...Pino Paul Benjamin...ML Rosie Perez...Tina Robin Harris...Sweet Dick Willie Frankie Faison...Coconut Sid SPIKE LEE (20 March 1957, Atlanta, Georgia) has directed Steve White...Ahmad 42 theatrical and tv films, the most recent of which is the Leonard L. Thomas...Punchy HBO documentary on the New Orleans Katrina disaster, Samuel L. Jackson...Mister Señor Love Daddy "When the Levees Broke: A Requiem in Four Acts" Joie Lee...Jade (2006). Some of the others are “Sucker Free City” (2004), Miguel Sandoval...Officer Ponte She Hate Me (2004), 25th Hour (2002), Come Rain or Rick Aiello...Officer Long Come Shine (2001), Bamboozled (2000), The Original Martin Lawrence...Cee Kings of Comedy (2000), Summer of Sam (1999), He Got Roger Guenveur Smith...Smiley Game (1998), 4 Little Girls (1997), Get on the Bus (1996), John Savage...Clifton Clockers (1995), Crooklyn (1994), Malcolm X (1992), Christa Rivers...Ella Jungle Fever (1991), Mo' Better Blues (1990), Do the Frank Vincent...Charlie Right Thing (1989), School Daze (1988), She's Gotta Have Luis Ramos...Stevie It (1986) Richard Habersham...Eddie Joe's Bed-Stuy Barbershop: We Cut Heads (1983), Sarah Gwen McGee...Louise (1981), The Answer (1980) and Last Hustle in Brooklyn (1977).
    [Show full text]