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DEVELOPMENT DEPARTMENT • 8 ST. FELIX STREET • BROOKLYN, NY 11217 6 Close Up One in San Francisco and the other London. Two black women make J?1usic for the movies. 9 World View Ouagadougou '95: Mrican Cinema, Heart and Soul(d), Part I CLAIRE ANDRADE WATKINS In the first ofa two part article) Claire Andrade Watkins shares insights on the African Cinema scene from FESPACO.

Black Film Review Volume 8, Number 3 12 Film Clips ]ezebel Filmworks does Hair. .. FILMFEST DC audience pick... VOices Corporate & Editorial Offices Against Violence. 2025 Eye Street, NW Suite 213 Washington, D.C. 20006 Tel. 202.466.2753 FEATURES Fax. 202.466.8395 e-mail 14 Hot Black Books Set Hollywood on Fire [email protected] TAREsSA STOVALL Editor-in-Chief Will the high sales ofblack novels translate into box office heat? Leasa Farrar-Frazer

Consulting Editor 19 We Are the World: Black Film and the Globalization of Racism Tony Gittens (Black Film Institute, University of the District of CLARENCE LUSANE Columbia) What we need to know about who owns and controls the global images of Founding Editor black people. David Nicholson

Art Direction & Design Lorenzo Wilkins for SHADOWORKS INTERVIEWS

Contributing Editors TaRessa Stovall 22 APraise Poem: Filming the Life of Andre Lorde PAT AUFDERHEIDE Contributors Pat Aufderheide Producer Ada Gay Griffin shares her thoughts on the experience. Rhea Combs Eric Easter Joy Hunter 25 Live From The Madison Hotel Clarence Lusane Eric Easter talks with Carl Franklin) Walter Mosely and the Hughes Brothers Denise Maunder Marie Theodore Claire Andrade Watkins

Co-Publisher DEPARTMENTS One Media, Inc. Eric Easter, CEO LETTER FROM THE EDITOR National Advertising Sheila Reid 4 One Media THE MAIL 202.466.4720 4 Black Film Review (ISSN 0887-5723) is published three times a year by One Media, Inc in association with the Black TELEVISION Film Institute of the University of the District of Columbia. 27 Subscriptions are $12 per year for individuals and $25 for institutions. Requests and correspondences should be sent to TECHWATCH P.O. Box 18665, Washington, D.C., 20036. All other corre­ spondence should be addressed to the editorial offices listed 27 above. No part of this publication shall be reproduced without consent of the publisher. RESOURCE EXCHANGE 29 This project was made possible in part by a grant from the National Endowment for the Arts and Media Arts Fund, creat­ ed by the National Alliance of Media Arts and Culture and sup­ ported by the Georgia Council for the Arts. BFR NOW ON CD-ROM Black Film Review is now availalable on CD-ROM through EBSCO Publishing IS Academic Abstracts service. To purchase a subscription Cover Illustration: Jason Murphy for DESIGN HOUSE or a for a free 60-day trial, contact: EBSCO Publishing, P.O. Box 2250, Peabody, MA 01960, USA. Or call 1.800.653.2726.

BLACK FILM REVIEW/3 FROM THE EDITOR THE MAIL

The African American film viewing public are at a cross-roads and how we spend our movie dollars over the next several 10th Anniversary Issue months may well determine the image of black people in film for years to come. Kudos for such a great 10th Anniversary Edition. It was refreshing to read the late Jacqueline Shearer's Between now and the end of the year no fewer than seventeen films will be released in which black actors and actresses interview. I have been following some of her work appear in either starring or supporting roles. Even more extraordinary is that, with the exception of To UIOng Foo, Thanks over the years. I learn a lot from other filmmakers and for Everything, Julie Newmar, there's not one comedy in the bunch. This fall we can wrap our eyes around Denzel am grateful to be able to connect with such out­ Washington and Don Cheadle in Devil in a Blue Dress, the film adaptation ofWalter Mosely's novel of the same name; standing directors.

Angela Bassett in the futuristic Strange Days and then teamed with Whitney Houston in Waiting to Exhale, Morgan Deborah Ray-Sims Freeman in Seven, and Laurence Fisburne as the lead in Othello. We can look forward to seeing Maya Angelou and Alfre via internet: [email protected] Woodard in How to Make an American Quilt. The Hughes Brothers got good buzz on their latest offering, Dead Presidents, with Larenz Tate. And there are many, many more. •••••

We're so glad that you (BFR) are still around--a Could it be the film industry has discovered that the African American experience is more than shooting and looting, danc­ really valued resource in the film community. ing and singing? Maybe. Maybe not. It depends on the money--the yen, the franc, the pound, the peso. "The Loot." In any language. Monica Freeman Atlanta African Film Society

Opening week ticket sales of new releases determine how long and on how many screens a film will be shown. If a film ••••• demonstrates money making audience appeal then the film executives--ever willing to repeat a successful formula--will con­ tinue to green-light similar projects. Hence, the proliferation of sequels. I would like to congratulate you on your 10th anniversary issue and thank you for providing me with a useful as well as entertaining resource. In this instance, there are far reaching implications for the success of these particular films. As Clarence Lusane examines I appreciate your efforts to provide as regular in this issue, the film industry makes the bulk of its profit from international sales. Films depicting urban black male vio­ series of interviews/profiles and articles on Black lence have been a primary source of this revenue. With these upcoming releases we have the opportunity to expand our women filmmakers which is why I would like to take image; one step ofmany in the right direction that need to be taken toward counteracting the myopic representation ofthe issue with John Williams whose filmography entitled IIDaughters [sic] of the Diasporall you reprinted. I black experience. noticed a glaring omission of such noteworthy names as Sarah Maldoror, Euzhan Paley, Martina Attile, If we don't support films that portray us as a people of diverse experience and skill then we have little to complain about Ngozi Onwurah, Maureen Blackwood, Elsie Haas, when mindlessly violent films--a proven multi-million dollar success formula--continue to flood theaters. This requires dili­ and a number of others. As a South African, I would like to urge African gence and searching out different venues. Trailers don't always tell the whole story. For instance, few people know there's Americans (as well as Americans of other races who a sub-plot built around a black family in Wayne Wang's summer art house hit Smoke, a phenomenal film about relation­ write/talk about pan African/Black issues), to become ships with stellar performances by Forest Whitaker and Harold Perrineau, Jr. more conscious of the Americentric assumptions underlying their laying exclusive claim to the term

ll It's going to be an exciting fall and winter on the movie circuit. And Black Film Review will be there for every reel of it. African IIdiaspora , and thereby excluding those of African descent living in the Caribbean, Europe, With wisely spent dollars we can affect change which leads to placing us behind the camera, writing the scripts, and in the Latin America, etc. board rooms where the power of image making really rests.

Haseenah Ebahim Chicago, IL

Leasa Farrar-Frazer, editor Black Film Review welcomes mail from its readers. Please send your letters to: Black Film Review, The Mail, P.O. Box 18665, Washington, D.C. 20036. Letters may be edited for length and clarity. 4/BLACK FILM REVIEW UDC offers all you need to succeed

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LJ Call (202) 274-5010 dothe smart ehoi~~AA MARY WATKINS FILM MUSIc's BLACK PEARL by Denise Maunder

media activist and co-author of Blacks in Year 1987-1991 (Daystar Press, 1992) rein­ Watkins' recent accomplishment. "Mary is female to have composed music for three

"v,,:"'•.~"" fo!o'."''''' Documentary category during a single year ~:rtllli.FJ9~'~Y;'199!):)":lt~s!jltnl:I·(jrtant because it has given her an opportunity as W~ilfl~l,tij~;:~I~~~~,;~'~:~,~!,~i5' mCreaSlT1Q visibility. It shows what talent is out there on the technical side." As Watkins elaborate on the "technical side" of film music, the thought occurs to this writer that the lay person can learn as much about a seemingly complex discipline like film scoring from Watkins as sitting in a film class for two semesters of coursework. "A good score is one that doesn't get in the way. The music has to compliment the picture. Music doesn't need to tell you a story. The dialogue tells the story. The music needs to comment on the unseen things. As a com­ poser, you need the ability to work with themes effectively. One of the IF YOU WEREN'T LOOKING FOR MARY WATKINS, YOU MIGHT NOT KNOW she was to change when she discovered film scoring. She eventually scored both films that I had the most fun doing was Dream Horse. It's a story about

·x ·'=aro.und. But the best kept secret in the San Francisco Bay Area's popu- Ethnic Notions and Color Adjustments for the late Marlon Riggs. a girl and a horse. It's for kids but what I enjoyed about that film is that lar arena is well-known within both the local and national inde- "Marlon made it very clear that he wanted commentary and not mood from beginning to end, there was music. .."

~",,,,,,,}'},,.tJFI!.\..l\ .. 111l film communities. Brilliant composer of music for both film music. You were never left guessing. He was also very good to work Like all great artists, Mary Watkins has a pet project. For the theater, inventive arranger, virtuoso pianist grounded in every with. Marlon knew what he wanted and he would give me the kind of past ten years, she has written and arranged the music for the (San musical idiom, Watkins has quietly built an impressive resume. freedom to create that. (Marlon) had a real respect for music and knew Francisco Bay Area-based) Dance Brigade's "Revolutionary Nutcracker Watkins sits like a pilot amid an electric gaggle of computer, what it could mean for a film." Sweetie."1 took some of the Tchaikovsky's greatest music and synthesizers, keyboards, and wires that encircle her feet like snakes. Film scoring is not for the faint of heart. Modern films mean visu­ arranged it for a contemporary style. I decided right from the beginning She wears a blue baseball cap flipped toward the back. Glasses and pix­ als precede music. Music enhances the action on the screen and is sec­ that I wanted a small orchestra." So far, there is no recording of iesh braids frame a face that belies that fact that this is a mother of a ondary to dialogue. Commercial film music, in particular, can lend "Sweetie," a project ripe for an ambitious producer. thirty-something daughter with children of her own. Green slacks and itself to the triteness of pop music commercialism since so many of the With all this success you would think that Hollywood would be funky tennis shoes complete her ensemble. major studios are tied into record companies. No sooner is a film com- knocking down Watkins' door. Not! So, what's the magic formula? "I Watkins pauses a moment before speaking in a steady, Quiet plete then the disk is available at the record store. think what helps (in crossing over into feature films) is getting an voice. This is a woman who doesn't speak in exclamation Watki s into her rthe light-filled Oakland apart- agent. What I've heard is that in order to get an agent you have to started playing when I was four. There were no (jazz) influences.. t her art. " rite a lot of different kinds of already have a feature film out there. Of course at that point you don't played only the lessons that I was given by the piano teacher. The BU~\!I] ... ~. ~ ,caliS for WI western, the idea is to do that need an agent!" influences that I was exposed to were people who played around If thei~V;f1to pOke!W'something, do that. If ii's suppose Watkins laughs at the Catch-22 and moves into the business of community, at church...1didn't hear much jazz. I didn't have a great corny, f1k¥~~~mUSiC)[S~~SfUIlY corny. To me, that's the chal­ music. "I think that llot of people don't have any idea, really, on how to exposure to music when I was growing up but the music I heard I len~e. Irs not the saine as wr.itirig~' composition for orchestra. Writing approach the industry. (Unlike other disciplines) the music industry .~ :::~:;: :.:.:~. :::::- :::~f absorbed like a sponge. I was always intrigued by background music fOT film y~u:~ave t~l~~ ~\lo~ ~f:~,Q stuff go. I don't really have a prob- (doesn't prepare you in college) like you major in accounting or soci­ that I heard on radio or television. I thought I could do that." lem 'vithina't. Let's;do wb~tih!s;film calls for and let's do it convinc- ology or computer programming. You know what you're going to do As a Composition major at Howard University, Mary Watkins did \n~ly~:l when you get out of school and what kind of money you can expect. what most talented musicians do to finance their way through college when I hear it. Lately I've been None of that is clear with music. -- drove a cab and gigged at night entering the world of jazz. "I did a he's doing a real good job. I have like "In the entertainment industry, you're just out there. You have to couple of (jazz) albums. That wasn't really part of the plan but this is Oliver Nelson was composing in the be sharp and have a lot of energy to market yourself. I've marketed what happened because my first love is composing .. .! knew that this 70's, I thought he did a lot of nice stuff." myself and I have to be Quite honest -- I get jobs by word of mouth." was the most fascinating part of music for me. It seemed that I would Last year alone Watkins has made both film and music history. Here's hoping The Word continues to get out about film music's have to be more performance-oriented if anyone was going to notice. Out of five Academy Award-nominated documentaries, she composed best kept secret. Mary Watkins. I never thought of writing jazz. I thought if I have to perform my own the music for three - Straight from the Heart, Complaints of a Dutiful music, well, I have to experience performing." Daughter, and, at the time believed to be the strongest contender for Denise Maunder is an independent event and music producer. Her But The Plan Watkins worked out for herself early on continues Best Documentary, Freedom on My Mind. work has appeared in Emerge.

6/BLACK FILM REVIEW MUSIC OVER THE THAMES by Marie Theodore

"MtL$lC IS AN INTRINSIC FILM. A good sl~~il*rack can add to the audience audi-

~;";~iJes to action, textur?, , p While film- makersar,e aware ofthe ifpportance ofthe music) espe- \i~lly i~~.!£~ay 's market-~piven ,~r~na where a good score f~(l pre:.;~:ll ,.~nd pr~1tfte yo~r;izlm) few know the Wfchanic$. ~. !

BFF: How didyou get into music? ST: When I was a kid I used to tinkle around on the piano and I would play around for hours on end. I remember being consciously involved in music is when I began listening intently to music on film and TV. BFF: Why did you specialized in violin and not the piano. ST: I always wanted to play the piano but at school there wasn't a piano teacher. Instead a violin teacher came. They offered lessons to any who wanted to play and I thought I would do that until I got a chance to play the piano. BFF: So you couldjust naturally play the violin? ST: No. They auditioned on general musicianship and I had an aptitude for it. I got started around 10 or 11 years old which was actually quite late. BFF: Do you stillplay professionally? ST: Yes. I have a series coming up on Channel Four, Secret Chamber: WOmen in Music. BFF: What is it like being a black woman violinist in England. ST: At school it wasn't too much of a problem. But I remember hiding my violin case because it wasn't ST: It was a battle learning the violin as my teacher would have been helpful ifI had met somebody while cool to be seen carrying it. And when I led the local was an ex-performer who didn't want to teach. I was growing up as a child, a black person. I also met Youth Symphony Orchestra, I was never given any really driven by the love of the music, the sound, and Edmond Reed after I left University, a Jamaican vio­ recognition as leader of the orchestra. I noticed in the challenge oflearning the technique of playing the linist who leads the Engli h National Opera. I was previous years they always profiled the leaders in the instrument. Up until the age of 21 I had never seen a always striving to find myself within playing classical local paper and it was very noticeable that in my year black person playing the violin or piano classically. music, an identity for me as a black person. Actually I was never profiled. It was after I left University that I met a black it was always a struggle. How I got so far, I don't BFF: Didyou have a mentor? woman who played piano at the international level. It know!

BLACK FILM REVIEW/? BFF: Did you ever consider going into more com­ laborative effort with the director early in the process for a Boyz 'N the Hood type film, which is more mercialforms ofmusic such as pop? or do you prefer to be brought in later? For example, immediate, is not right for everything else. T: Sure. I thought once I got my classical training I Julie Dash worked very closely with her composer for BFF: Are young black people gaining more access to could make lots of money playing pop music. But it Daughters in the Dust as didJane Campion for The classical music? didn't happen because I was told that I was a good Piano. ST: I see more black children carrying violin and composer. I then went on to study further in con­ ST: I think that is a very interesting point. There is a cello cases. In terms of writing film music there are temporary classical music. I felt it would be more of continual problem with directors bringing in com­ courses for that at University now. When I went to a challenge. posers at the '11 th hour'. I've found that collabora­ University we were learning 16th Century [music] BFF: Is there a leap between playing and composing? tions early on are infinitely better. The directors are styles which had no relevance whatsoever! I had to T: Yes. Being a composer is a very different skill. happier and so am 1. It has a lot to do with how much learn how to write/compose all over again for film You have to be creatively minded. Playing the classi­ respect a director has for the part music plays in a mUSIC. cal violin, first and foremost, you are reading the film. In television music can often be tacked on at the BFF: Why are there only a handful offilm com­ music by rote. You don't have to think for yourself. end of a production. posers? Ifyou are interested in the field how do you With a composer you have to create all the time. It's BFF: rou also are a director. Do you find composing start? a different thought process. for your own films different from composing for a ST: It's a specialized field and very demanding. Now BFF: rou need to be aware ofall the elements, not commission? there are a plethora of courses to take specifically in just one instrument. ST: I find it harder to write for myself. In the process film composition. ST: Yes, that is one aspect. You need knowledge of of writing for yourself you have been involved in the BFF: What are the issues facing black composers? instrumentation, that is orchestration, but as to the pre-production stage, production and editing. You ST: Mainly receiving the recognition. Hopefully, you actual birth of music I can't really say where it comes have to find the energy to write the music as well. get a big break in a feature. from--it's just a particular skill of putting music, a Because the film is your own you can become much BFF: Does your music get cut/edited like everything tring of notes together. If you are a skilled arranger more precious about it. But I would find it hard to else in the film? you can then orchestrate something but its the creat­ have someone else write the music for my own film. ST: All the time. I could write twenty music cues and ing of actual sound that is what the composer does. BFF: Lets discuss the added texture music can give a maybe five will be used. I must emphasize that with BFF: What is the process you go through when com­ film. What is the purpose ofhaving it there at all? anything I write, it is ultimately down to whether the posing a film score? ST: Music can do so many things! The soundtrack director likes it or not. Its very much a collaborative ST: I have a consultation with the director and view can change the meaning of the picture so its infinite­ effort. the rough cut to begin thinking of musical ideas. ly important. When music doesn't fit the picture BFF: How involved are you in thatprocess? Maybe two or three weeks later I will view the fine that's when you notice what the music is doing. ST: Once again, that's down to the director. If that cut [of the film] and at this point I will start to put When you don't notice what the music is doing that director wants you closely involved you may be asked actual music sequences to cue points I have discussed means its working. to the cutting room for your opinion. All experiences with the director. [Then I] begin timing for precision BFF: In regards to marketing, the soundtrack has a are different. There are no rules. There is no definite to make sure they work with the cues. We then go higher profile than ever before. In fact the music is structure. Part of the process of being a composer is through points where we want the music to start and almost a separate entity. Does that present an addi­ very isolating as a creative artist. You are very much to end. tional challenge to the composer? on your own dealing with the business and your own BFF: How do you 'find' the music? ST: Absolutely. Directors are now casting for com­ thoughts. As a film composer you have to be able to ST: I keep watching the film repeatedly and some­ posers who can produce the kind of music that will let go of your work. You have to be willing for your times I can just be walking along and an idea will sell to a massive audience. Which is great in terms of music to contribute to a whole. Depending upon the come to me. I may try it out on the piano. Then I packaging. nature of the film, that is if it is a musically led film, begin to play that music against the picture. I just feel BFF: Do you think it's goodfor composers? your decisions will have more weight. if it works. I may go through ten musical ideas and ST: It can be. I find its a particular type of film that BFF: Does being a director help? then one always leaps at me. It's an instinctual thing. goes with a particular kind of music. For example, ST: When directors deal with composers it is very BFF: Do you find it getting better with experience? the soundtrack for The Piano, a consummate film often an unchartered area for them. Music is such a ST: With experience you learn to trust your instincts. with gorgeous music. Something like that deserves to mystery in terms of where it comes from. Knowing That is what becomes stronger. be an entity on its own as well as complementing the the processes of film production can be very helpful. BFF: Is silence important? film. BFF: Are there particular differences when compos­ ST: Silence is as important as the sound. If you sub­ BFF: Do you see an increase in work for you due to ingfor television than for film? scribe to the John Cage philosophy of music. You the rise in black independentfilmmakers? ST: In television you want something immediately have four bars of rest in a musical piece that are as ST: Yes. A lot of people who ask me to write music recognizable for the genre of TV that you are writ­ important as four bars of music. A piece I've recent­ now are black as well as white. One thing leads to ing. Especially for the theme tune. Incidental music ly written for a choreographer at the Royal Ballet another. shouldn't be that distinctive. There is less scope in chool is called The Space Between, because the musi­ BFF: For classical compositions? television. Except for the signature tune of a pro­ cal spaces I've put in the piece are just as important ST: Yes. I am known primarily as a classical composer. gram you don't want to bring attention to your as the notes being played. BFF: The majority of mainstream black film uses mUSIC. BFF: Is it common that by the time you are mainly contemporary music, e.g. hip-hop, rap, pop. BFF: What future projects are you working on? approached the film is finished? Do you see that changing? ST: Currently I am working on a number of projects ST: More or less. Usually I will get the penultimate ST: I write music primarily for the black art house including Opera for Africa '95; a CD with New cut of the film. The director will begin talking to me directors. If they want a hip-hop person that's who Note Records and a tour of my composition Changes about emotions, psychology, time and space -- all the they go to. Actually, classical music is just film music. with the Angell Piano Trio. aspects of the film she can think of. Then I try and Film music is the way you orchestrate. There are interpret those ideas musically and enhance it. always parts in films where you want something that Marie Theodore is an American actress and writer BFF: Do you feel it is better to work in a more col- is orchestrated. You can do both. What's appropriate currently living in Chicago.

8/BLACK FILM REVIEW OUAGADOUGOU '95 AFRICAN CINEMA

PilRT 1

very two years Aftican filmmakers and those ofAftican descent living in the dias­ badges, transportation and programs were mysteries known only to the oracles and pora meet in Ouagadougou, Burkina Faso to join an appreciative audience oflocal ancestors. Today, movement flows with some degree ofefficiency and success, thanks, Efolks, film buffi, critics and distributors. With a critical eye on the future ofAftican in part, to a newly installed computer system that sorts out guests, luggage, food and cinema, Andrade-Watkins takes us to FESPACO to share her impressions in the first ofa lodging. two-part article. Once on the scene in Ouaga, long-established traditions are closely adhered to by those wanting to be in the know, as well as those who do know. First, EVERY­ "Ouaga." The delicious sound rolls off the tongues ofMrican film cognoscenti, afi­ THING revolves around control central, the Hotel Independence, where senior film­ cionados, filmmakers, scholars, students and dreamers who converge every two years makers, officials, heavy hitting figures and other limelighters in Mrican cinema reside on "Ouaga," the affectionate name for Ouagadougou, Burkina Faso's capital city and and preside. Day or night, people cruise around the hotel's grand swimming pool home since 1969 to FESPACO (Festival Panafricain du Cinema de Ouagadougou). looking, meeting or hoping to connect with any number ofMrica's beautiful people, The familiar friendliness, warmth and patience of the good-natured Burkinabe filmmakers, producers, or distributors. people greet the impatient horde pressing into the tiny airport for the 14th edition of Famed for midnight to dawn sessions ofspirited conversation and debate at the FESPACO, sub-Saharan Mrica's most important film festival and the continent's hotel's cast iron tables encircling the swimming pool, huge bottles of Flagg beer are premier cultural event. The swarm of noisy, confused, and often arrogant guests copiously consumed, staving off Ouaga's unrelenting heat and dryness. threaten to overturn the rickety desk precariously anchored by a squad of Burkinabe New and old faces mingling at the Hotel Independence reflect current political, processing mounds of passports from around the economic and cultural trends in Mrica and world dumped in front of them or waved under Mrican cinema. The large delegation ofSouth their noses. by Claire ilndrade-Watkins Mricans and films in competition, signal the In days of yore, hotel reservations, festival official invitation back into the fold for this

BLACK FILM REVIEW/9 newly democratic country. It also adds a major There is a deep richness in the tone, color and English-speaking player in an event long domi­ feel in many films from Mali. Guimba 5breath­ nated by the French and French-speaking taking sets and costumes, brilliantly designed Mrica's leadership, guidance and influence. and detailed, magnificent actually, provide a On the surface, FESPACO 1995 is an vivid visualization of the pre-colonial past, easi­ impressive testimony ofMrican filmmakers thir­ ly transferred to the present, given the timeless ty year struggle against scarce financial resources dynamics of political maneuver and struggles and limited distribution outlets within Mrica for power. Unfortunately, many of the nuances and abroad. Ironically, Mrican cinema now and subtleties are lost in the story in Guimba or enjoys unprecedented international visibility at Bambara and Dogon traditions. This is particu­ festivals and competitions. From Los Angeles to larly true ofthe dark magical powers ofGuimba Cannes, representatives of the Mrican film com­ and the good forces of his adversary, which munity are being courted, cajoled and invited. sometimes escape the grasp of the uninitiated Does this mean that FESPACO-now dubbed the viewer, who wanders and wonders for inter­ Black Cannes-and Mrican cinema have arrived? minable moments through what at times appear Yes. And no. to be endless machinations. Nevertheless, the The transformation ofOuagadougou from a power and beauty of the film more than com­ dusty, unknown city to a major center of world pensate for drags and snags in the narrative. cinema is both remarkable and largely superficial. Keita: The Heritage of the Griot, by To be more precise, Mrican cinema today faces Burkinabe filmmaker Dani Kouyate, a close the same ifnot more dire circumstances than ever grand prix contender by the street vote, cap­ before: no money, no money, no money, no dis­ tured instead the award for best first feature. tribution, no distribution, no distribution. Unlike Sissoko's Guimba, Keita is effervescent Mrican cinema fails as it succeeds. A paradox? and light in tone, following a tradition of Contradiction? Oxymoron? Perhaps all three. Burkina's gifted filmmakers. Similar to Guimba) Keita forcefully reiterates the value of or almost thirty years, Mrican filmmak­ Mrican oral traditions and lore, often de­ ers have lobbied vigorously to wrest con­ emphasized or ignored in modern Mrican cur­ trol of the continent's distribution and riculum. Fexhibition circuits from foreign control. Set in modern day Ouagadougou and told FEPACI (Federation Panafricaine de Cineastes), through the perspective of a young boy, Keita the association of Mrican filmmakers created in charmingly captures the magic of the famous 1969, has made only modest inroads in that story ofSundiata, the famed ruler ofthe power­ direction. FESPACO (Festival Panafricain du ful 13th century empire ofMali. The boy learns Cinema de Ouagadougou), on the other hand, the history of his namesake, Sundiata, through remains FEPACI's most visible creation, a show­ an elder who travels from the distant village of case of the hard won, tangible results ofMrican his family to teach Keita the history of his CInema. Scene from LeFrance ancestors. FESPACO is the only festival in the world where moviegoers have immediate access to both the newest fr0m L0S ilngeles to Cannes, repre- ensions between traditional and formal educa­ work and classics. Otherwise, it takes two to three years, tion escalate as the young boy becomes more or longer for audiences outside Mrica to see the new and more enraptured, listening, learning and films--if at all. Outside of major international film fes­ sentatives 0f the ilfrican film C0m- Trepeating the stories of the elder. Without veer- tivals, the possibility of seeing the films is very limited. ing to the didactic, Keita presents the dilemma of inte­ Even if the rarity occurs, and a film does get a theatrical grating Mrican history within the context of western run, it is usually very short. This reality adds a special munity are being c0urted, caj01ed education and pedagogical priorities, so often viewed as excitement to the expectations of the festival goers. the sole road to success in modern Mrica. "Cinema and History," the theme oflast year's fes­ Winner of the Diaspora Prix, L 'Exil de Behanzin, tival, reaffirms a priority for Mrican cinema. In a com­ and invited. Martinican filmmaker Guy Deslauriers' film, "illumi­ mentary in the festival catalogue, FESPACO director nates a unique historical moment between Martinique Filippe Sawadogo notes, "though Mrican cinema is only and Dahomey. The lush, beautifully crafted film, chron­ thirty years old, it already constitutes an important part icles the exile in Martinique of Behanzin, the late 19th of the living memory of our people. Therefore, we shall The 1995 winner, Guimba, the third feature of century ruler of the powerful West Mrican kingdom of continue encouraging its breakthrough in the continent Malian filmmaker Cheick Oumar Sissoko, was com­ Dahomey. After four years of fierce fighting, Behanzin and abroad, in order to restore the image of Mrica we pleted literally days before the festival. Unlike his earlier surrenders to the colonial French army, choosing exile feel and live, an image quite different from stereotypes films, Guimba is set in the pre-colonial 19th century for himself and his court to avoid further destruction to established in universal norms." Bambara and Dogon empires of West Mrica. Sissoko Dahomey. Although his besotted romance and infatua­ Without a doubt, the films in competition and successfully constructs a narrative woven around tion with a beautiful Creole is somewhat cliched and others screened over the eight day festival indicate sig­ Mrica's traditional historian, a griot, whose recounting implausible, the story is a fascinating look into the life nificant progress. Word spreads rapidly about favorite of the story of Guimba opens the film and segues the and fate of the legendary pre-colonial ruler. films, and debate and discussion is lively about which viewer beautifully back in the time when conquests and On a more contemporary note, Le Franc, winner of one will claim the grand prix, "L'Etalon de Yennenga." power were in the hands ofMricans. the best short film, is a sublime reflection of the genius

10/BLACK FILM REVIEW of Senegalese filmmaker, Djibril Diop Mambety. lined up to see Anne-Laure Folly's documentary, International de la Television et du Cinema Mricain), Lauded for Touki Bouki, (1969), and most recently Femmes aux .IeUX Ouverts, a powerful and thoughtful now in it's seventh year, and an important internation­ Hyenas, (1992), Ie Franc, a forty-four minute film, exploration of issues germane to West Mrican women, al marketplace for buyers and others interested in shows Mambety's mastery in capturing the dreams, including forced marriage, female genital mutilation, Mrican cinema and television. The most recent initia­ vices and hopes ofordinary, simple people with extraor­ and HIV/AlDS. This absorbing, non-voyeuristic fifty­ tive is an archive of African film based in dinarily sophisticated, complex, and avant garde cine­ two minute video is distinguished by the candor of the Ouagadougou. matography, lighting and composition. The story of Ie interviews skillfully elicited by the Togolese filmmaker. These gains, however, do not sustain Mrican cine­ Franc is quite straightfor- ma in the face of post ward. Set in modern day Cold War realities. Dakar, Senegal, a musi­ Confusion and uncer- cian's instrument IS tainty abound as Mrica impounded by the land­ The transformation of in general and Mrican lady for non-payment of cinema in particular rent. While pondering f. Ouagadougou from a dusty, wend a path through his gloomy prospects, he the political, economic happens by chance, to unknown city to a major center of and cultural chaos creat­ obtain a lottery ticket. ed by the new global He glues it to the back of world cinema is both remarkable order. his door, then covers it with a poster to hide it. and largely superficiaL "Democratization, " The delightful, "privatization" and sometime satirical, Scene from You Africa "free-market economy," maybe sardonic adven- today's buzz words, ture begins with the dis- exacerbate Mrican cine­ covery that he has the ma's fundamental winning ticket...which ... 1lfrican cinema today faces the dependence on external cannot be unglued from assistance. Filmmakers the door. 0 problem, same if not more dire circumstances already resigned to the the determined musician aggressive pursuit offor­ takes the door to the lot­ than ever before: no money, no eign markets and capi­ tery office to claim the tal, must now accelerate money. Diop Mambety money, no money, no distribution, their efforts in an crawls into the mind and increasingly competitive imagination of his sub­ no distribution, no distribution. global market where jects, which in this their devalued currency instance is a romp Scene from Keita buys very little. through scenes of stark After thirty years, urban Mrican ugliness, no vested interest or juxtaposed with the entity exists in Mrica, door, doggedly dragged, Europe or America that and carried by a man fESPACO is the only festival In the revenue from distribu­ with simple, jubilant tion, exhibition or pro­ dreams of money, world where moviegoers have Imme- duction to insure the money, money. survival ofMrican cine­ Another festival diate access to both the newest work ma. The results? First, favorite and special jury the success ofa few indi­ prize winner was A la and classics. viduals, versus the Recherche du mari de ma growth of a sector, sec­ femme, a film from the ond, an increasingly dis­ Maghreb (North Mrica) Scene from Hyenas tanced African audi­ by Moroccan filmmaker ence, and finally, the MohamedAbderrahhman dislocation from Mrica Tazi. An affectionate, warm, humorous jab at the trials Folly's familiarity with the issues and culture presents and relocation abroad of the discourse and debate, so and tribulations ofthe master in his polygamous house­ these volatile concerns in a way that is comprehensible, critical to the intellectual, cultural, historical and aes­ hold, the tale is imbued Tazi's childhood recollections of yet neither oversimplified nor burdened with providing thetic voice and vision ofMrican cinema. growing up in a polygamous household. A la Recherche answers or solutions. Mrican cineastes and others committed to the long du mari de ma femme, follows the master's folly as he Overall, a glance at the films in and out ofcompe­ range vision of Mrican cinema bring to the struggle divorces, then attempts to remarry his youngest wife. tition indicate individual and collective evolution of with infectious feelings of enthusiasm and hope. That Tazi sends his main character into a nightmarish and cinematic style, maturity and complexity. The breadth energy is the heart and soul ofMrican cinema. hilarious spin, and provides a lesson on the complexi­ oftodays films reflect more contributions from women, ties, hazards and joys of polygamous traditions. English speaking Africa and the Diaspora. Other Claire Andrade-Watkins is an associate professor of On a more serious note, as many men as women notable achievements include MICA (Marche film at Emory College in Boston.

BLACK FILM REVIEW/11 JEZEBEL FILMWORKS GETS WITH "I've seen how people treat me based on how I the National Black Programming Consortium. Says THE HAIR THANG wear my hair," said Babino. "If I wear it in braids I Babino of her film and new status as a mother, "I get the Mrocentric people; straight - the pseudo­ finished it one week before my baby was born on The Hair of bourgie people. My own personal experience the 19th ofMay." Black Folks. The prompted me to want to do something on hair." Middle Passage NT Roots premiered at mere mention of Shot on location at Jak & Co. and Gregory for Washington, D.C.'s Biograph Theater and was it conjures up Hair salons in Washington, D.C., the film showcases shown at the Smithsonian Institution on December images and stories local people as they candidly express their views on 11. The National Black Programming Consortium that are a rich hair. There was no shortage of candidates wanting to will option Middle Passage N' Roots to PBS this year. part ofthe share their hair stories, men and women alike. When asked what she wants the audience to Mrican American "When I advertised it there was a big interest in hair. learn from Middle Passage NT Roots, Babina respond­ cultural lexicon. Black folks wanted to talk about their hair," said the ed thoughtfully, "I am pro-natural hair. We have a Whether fried filmmaker. "I started off just wanting to talk about tendency to judge people. But you shouldn't really and dried, gelled, the women [and their hair] but [found that] men go judge people by their hairstyle. What's on the out­ locked, curled, through a lot, too. So I included them." side may not be on the inside. We should let them braided, colored The testimonials are creatively woven around unveil themselves." LFF Ayoka Chenzira or shaved -- the the protagonist, Carolyn's care, maintenance, and design of black people's hair (Nahisha Pettit) day at the remains a cultural obsession oflong standing. salon. Carolyn's mission is to Talking disparagingly about somebody's hair ranks have her hair straightened to second only to talking about their mother. It's defi­ look "appropriate" for an nitely a hair thang' with black folks. upcoming job interview. In 84' Ayoka Chenzira gave us her masterpiece Award winning cinematogra­ Hairpiece: A Film for Nappyheaded People. Ten years pher, Marcus Smith and a later-the preoccupation with hair alive and well­ core of talented local inde­ independent producer and owner ofJezebel pendent artist and techni­ Filmworks, Ada M. Babino presents Middle Passage cians' completed production N'Roots. The half-an-hour docudrama takes a pas­ for Middle Passage N' Roots in sionate and humorous look at hair care and the three days. The project, how­ ordeal that hair undergoes based on its owners ideo­ ever, took three years to com­ logical beliefs and society's definition of beauty. The plete with funding from the project was conceived as a result of the familiar, age­ DC Commission on the Arts old notion in the black community of "good hair" & Humnaities, the Pittsburgh and "bad hair." Filmmakers Foundation and Scene from Chenzira Middle Passage

THE AUDIENCE PICKS A WINNER FIRST ANNUAL, D.C. BLACK FILM FEST Washington, D.C. native Maria Maggenti In its heyday the Lincoln Theater in Washington, D.C. was a hub for cultural events and a showplace for first-run black films. Last spring the Lincolp won the first ever Audience Award presented dur­ revisited those glory days, as host of the first D.C. Black Film Festival. ing the Washington, D.C. International Film Titles screened included Gregory Hines new film, /(angaroo Court: J. Day, featuring the talents of ER heartthrob, Eriq LaSalle and the 1990 acad­ Festival held from April 26-May 7. Maggenti's emy award nominee The Last Breeze of Summer. The Last Breeze..., was produced by Dave Massey, the first African American to be nominated in the first production, The Incredibly True Adventure of Two Girls In Love, starring African American short film category. The film stars Marla Gibbs. actress Nicole Parker, earned top honors over 60 The Second Coming, another film produced by Dave Massey was shown. The Second... was also nominated for an academy award. This film fea­ other D.C. premieres and recieved a cash award tures James Earl Jones, Rosalind Cash, and stars Blair Underwood. Interestingly enough, the S80,000 price tag to produce the film, about the second from Citicorp Investment Services on behalf of coming of a"for real" black Christ, was put up entirely by Underwood. He then bypassed atheatrical release, and in astroke of marketing genius, start­ the festival. Litanyfor Survival: The Life and itIOrk ofAudre Lourde by Michelle Parkerson/USA and ed an 800 number so anyone could call and buy a video tape copy of the film. The Second... has reportedly done extraordinarily well in sales. Elrs Black Is.. .Black Ain't by Marlon Riggs/USA were Coming, produced by Ed Sherman, has a similar theme as the The Second... It's about the second coming of the biblical figure Elijah, as a black man. also fesitval hits. The D.C. Black Film Fest was sponsored by Williams and Anderson, a public relations firm, and the Michael Angelo Graham Scholarship Filmfest DC was an attendence winner this Foundation. Graham, a singer, dancer, musician and composer, was a long-time emcee at the Howard Theater, another historic night spot in D.C., now year by breaking all projected figures. With only a few staffmembers and many dedicated volunteers, closed. He is maybe best known for his song liMy Diary, II which was later recorded by other prominent artist. Up until his death, Graham worked to cul­ the festival attreacted over 20,000 people this year tivate the talents of many young artist. He is credited with helping to launch the performing careers of Van McCoy, Johnny Hartman, The Clovers, and -- marking a 200/0 increase over 1994's final tally Marvin Gaye. In 1986 Graham's widow Mae established the Foundation to help deserving students defray some of the costs of higher education. of. Tentative date for the Tenth Annual Foundation officials hope to make this D.C. Black Film Fest an annual event. Joy Hunter Washington, D.C. International Film Festival are April 24-May 5, 1996.

12/BLACK FILM REVIEW Hoop DREAMS DIRECTORS SET FOR 2·PIC DEAL NATIONAL BLACK PROGRAMMING CONSORTIUM (NBPC) FEELS THE HEAT

The makers of Oscar-snubbed documentary Hoop Members and supporters of the National Black Programming Consortium, Inc., (NBPC), a non-profit, media arts organiza­ Dreams, Steve James and Peter Gilbert, have signed tion that supports the development, production, and distribution of educationally and culturally specific film and television with Savoy Pictures to produce two feature-length programs, by and about Africans and African Americans, should be advised that the Consortium is now under fire. films, Foul and Nagasaki Dust. NBPC acquires a significant amount of its funding from the Corporation for Public Broadcasting (CPB). Congresses Foul, based on the book of the same name by David threat to cut funding to CPB would subsequently effect NBPC which includes information on Native Americans, Asian Americans, Latino and Pacific Islanders. Wolf, chronicles the life former NBA all-star Connie For the past 13 years NBPC has been a resource for its constituents by providing technical assistance to independent Hawkins. Nagasaki Dust, based on the play by W. producers, hosting premiers and screenings, presenting awards, providing information on workshops, seminars, festivals, Colin McKay, will be directed by James with Gilbert as funding and employment opportunities. the director of photography. The original play is about a Much of this information is distributed through the NBPC newsletters TAKE ONE and TAI{E TWO. The backlash of change young Japanese-American just before the attack on have already caused some adjustments to be made in the distribution of these publications. TAKE ONE, formerly a quarter­ Pearl Harbor, and faces the choice of joining the ly, will now be published once a year. TAI{E ONE covers NBPC activities, and industry information as well as a directory of Japanese army becoming a prisoner of war. resources. TAI{E TWO will be published three times a year and available to subscribers and members only. TAI{E TWO looks Negotiations for both projects were handled by the at contemporary issues and their impact on the industry and communities of color. For additional about NBPC newsletters William Morris Agency. see Resource Exchange. Joy Hunter

BLACK FILM REVIEW/13

It's been 11 years since The Color Purple became the first bestselling black ... . book to be made into a major motton ptcture. Since then, two tmportant trends have emerged and are now converging in a way that suggests a whole new meaningfor the phrase "Up from Black" in Tinseltown.

he entertainment indu tr tarted taking diverse array of black voices and V1 10n is moving Chase, Senior ice Pre ident of Denzel Wa hington' frican merican audience eriou ly when from page to creen. "There has certainl been production compan und Lane Entertainment. T the phenomenal popularity of "The Co by an up wing of interest in black books," say Max "Hollywood realized there' a market for African Show" proved that (a) black folks watch TV; and (b) Rodriguez, publi her of the Quarterly Black Review of An1erican movies and, more recently, that there's a folk of other race njoy watching black folks on TV, Books (QBR), which lists black bestsellers for Essence, market for movies that are more reflective of other particularl in a qualit how. Black Issues in Higher Education, Journal of Blacks in a pect of African American life." Then Spike Lee' She's Cotta Have It and sub e­ Higher Education a well as on Prodig and CD Rom. quent film pawned a new generation of black movie "I think we all know that there are more books and hile thi trend ma lead ome new black maker and proved the viability of an African more people are reading. More people are seeing authors to dream of screen deals along with merican ticket-buying audience. This wave of fre h books as entertainment and more are on their way to W be teller statu ,it' still a new concept for film fla a al 0 pro ided a new late of torie for view­ the creen." some to ponder. er of all race . We' e come to expect film ver ion of best elling Connie Bri coe, author of the megahit Sisters and hile Holl wood wa beginning to acknowled e Lovers ay that while she wa writing the book--her our consumer power, the meteoric ri e of Terry first--thought of a deal never entered her mind. And cMillan's be telling novel Waiting to Exhale woke the fact that the tory may become a major net- the publi hing world up to the fact that African Waiting to Exhale woke the publishing work miniserie make her want to pinch mencans read, write--and bu --books, too. herself. uddenl ,book by black author were popping up world up to the fact that African "I'm just thankful that the left and right. Man made the main tream bestseller trend is coming and I am a Ii t , but the titles were so numerou and varied that, part of it," she says. "I in the la t two ear, two different black bestseller Americans read, write--and--buy-- often wonder if I Ii t ha e emerged to track the trend. had written ome­ ow Hollywood, ever on the lookout for "bank­ books, too. thing like Sisters and able" material, ha put two and two together. And sev­ Lovers five or ten year eral of the e hot black books--fiction and non-fiction, ago what would have in genre from my tery and famil drama to supernat­ happened. I don't think it ural thriller and true-life tale of redemption--are book b white author, and it makes en e that pop­ would have done nearl a bein optioned, developed or produced for film and ular book would grab the attention of producers, well. It may not e en ha e TV. directors and stars seeking properties with built-in been published. But fortunately, From McMillan's Waiting to Exhale and athan audiences and proven appeal. Original screenplays, no the timing was right and I hope call' autobio raphical Makes Me Wanna Holler matter how well-crafted, are bigger gamble all we will see more (purcha ed b John Sin leton while till in galle around. respectable treatment of black folk form) to Toni Morri on' Pulitzer Prize-winning "In terms of the movie bu iness it elf, book are in print and on TV." Beloved (in the works at Oprah Winfrey' Harpo actually the richest material to use as the basi for a McMillan, who e econd novel, Productions) and Walter Mosley' Devil in A Blue Dress movie because the characters are developed and the Disappearing Acts, wa optioned by a studio (produced by and tarring Denzel Wa hington) a plot is well thought out," explains Deborah Martin- but never produced, a s "I never thought that an of

BLACK FILM REVIEW/15 my books would actually be made into a mOVIe. book written by a black, written and directed by a while losing the battle of the bulge; and Lela Rochon mean, there are a gazillion writers out here whose black, produced and distributed by a major studio (Boomerang, Harlem Nights and Meteor Man) is the pro­ books get optioned, but very few actually make it to with a major studio budget, and driven by a major fessionally smart but romantically dizzy sexpot Robin the screen and I didn't know if mine would be one of star." Stokes. them." Waiting to Exhale is in the can, tentatively sched­ This quartet of powerhouse divas is matched by a Many culture-watchers are mindful of the poten­ uled for a late Fall release. The book turned heads strong cast of brothers that includes Gregory Hines, tial of the trend and hope that it will help America see when it hit The ew York Times bestseller list the Dennis Haysbert, Mykelti William on, Leon, Kelly beyond the media stereotypes that have misrepre­ week it came out and went into its tenth printing two Preston, Bill Cobbs and Wendell Pierce. While sented African Americans for so long. "The McMillan and Ronald Bass (the 0 car-win­ most difficult thing is to be seen, to be recog­ ning screenwriter of Rain Man) co-wrote nized," ays QBR' Rodriguez. "This can be a the script and nagged executive producer boon to African Americans becau e you have credits, the film version of Exhale i direct­ our very be twriters creating images that ed by a brother best known for his work in reflect u in the po itive. These are all people front of the camera: Forest Whitaker who e that are very conscious of the images they acting credits include Jason's Lyric, The reflect and send to the con1munity. Crying Game, Bird, Smoke, A Rage in Harlem, "If we can bring these images to the Platoon and Good Morning Viet Nam. creen, it can help the wider community to see "Working with thi story and the e perform­ us. That's why books to screen is so impor­ ers is a filmmaker' dream," Whitaker say tant." of his feature film directorial debut. Citing Author Tina McElroy Ansa's bestselling "tremendous respect for Terry's work" he novels Baby of the Family and Ugly Ways have worked to ensure that the film "stayed true attracted interest from filmmakers, including to her vision." her husband acclaimed filmmaker Jonee Ansa McMillan says that during filming, who is working with her on developing Baby... Whitaker often asked "Terry, i this what as a film project. She is enthused about the richness of you intended? Is this being played right?" While she African American material. "As a writer, sometimes I IIMore people are seeing books as considers filmmaking "too collaborative" for her tastes, can be overwhelmed by the diversity of our stories. she says she loved all the actre ses--onscreen and off­ It' almost laughable when you think that America has -and is happy with the film. been trained to see us as monolithic one-note entertainment and more are on their Many people are holding their breath to ee how Johnnies and Johnnie Maes. It's so insane because we well Devil. .. and Exhale do at the bo office. It stand 1I have 0 many storie and we haven't even started to way to the screen. to reason that their success or failure will forecast the tell them. We haven't scratched the surface. The future of the black book-to-screen trend. Their heer weight of our torie and what we have to say, MAX RODRIGUEZ, appeal, some ay, will depend upon the integrity with the diversity of it and the interest level... all of that is which they're translated. QUARTERLY BLACK REVIEW OF BOOKS going to overwhelm whatever would stop the indu try "We're waiting for Terry and Walter's films to from letting everybody in." come to screen with fingers crossed," says QBR' Rodriguez. "They've put forth the good effort in the writing of these books. Let's see what Hollywood does "It's In Production" weeks after that. The million-dollar sale of the paper­ in terms of staying true to them." Walter Mosley' debut back rights made headlines and catapulted McMillan While Devil... and Exhale are leading the pack, novel, Devil in a Blue Dress, is into a whole new realm of literary superstardom. several rrfore book-based films will be out in the next the first of four mysteries Producers Deborah Schindler and Ezra couple of years. Oprah Winfrey is carving out a corner featuring Los Angeles detec­ Swerdlow, whose individual credits include Raging of the market with large and small screen projects tive Easy Rawlins. Columbia Bull, The King of Comedy, The Last Temptation of Christ, evolving at Harpo Productions. Toni Morri on' TriStar Pictures has optioned The Color ofMoney and Alien, spotted Exhale's potential Beloved will become a major motion picture (starring the right to Devil's... sequels immediately. "The minute we read the book we knew Winfrey), which they hope to begin filming next sum­ A Red Death and White it as a movie that had to be made, and that these char­ mer, according to Kate Forte, head of development at Spike Lee Butterfly, which they'll pro- acters had to be put on the screen--with the best Harpo. Akosua Busia (who played ettie in The Color duce in partnership with actors possible," said Schindler. Purple) is writing the screenplay and they're looking Mundy Lane Entertainment. The film is packed with star-power. for the right director. Devil. .. , starring Wa hington, Jennifer Beals, Tom Whitney Houston is Savannah Jackson, Harpo is also developing Zora eale Sizemore and Don Cheadle, was the first of these lit­ the TV producer looking for Mr. Hurston's classic novel Their Eyes Were Watching erary-rooted films to hit the big creen when it opened Right; Angela Bassett is God as a feature film, "most likely at Warner September 22. Bernadine Harris, whose Brothers" Forte ays. Bobby Smith Jr., a Director/screenwriter Carl Franklin (One False husband dumps her and the 26-year-old brother from Texas who Move and Laurel Avenue) adapted and directed Devil. .. , kids for his young, white scripted Jason's Lyric and Oprah's pro­ the story of a down-on-hi -luck detective drawn into bookkeeper; Loretta Devine duction of There Are No Children Here, the underworld of po t World War II Los Angeles. (Amos andAndrew, Livin' Large, A is adapting Eyes for the creen. While Devil... is a exy, juke joint kind of flick the Different World, Roc and Dreamgirls) Forte confirms that they are "in real story i in the n1ix. Martin-Chase ay "Devil. .. is is Gloria Johnson, the hair salon discussions with a major black really cutting-edge for Hollywood. It's based on a owner trying to raise a teenage son male filmmaker" to direct.

16/BLACK FILM REVIEW Th 'r al 0 developing The Wedding, Harlem mo ie with Eddie urphy.' nd I aid 'Yeah, right, thing," Pollock hired Beverl Sa er, who wrote Renai ance author Doroth We t' recent be teller crank call.' I figured it wasn't possible, 0 I didn't take Stomping at the Savoy. "I knew her work-- he' a won­ about color and cIa in the black communit , though the phone call." derful writer, and she was dying to do an adaptation," the Ire not certain whether it will be a feature film or "Around half an hour later, my secretary said a Pollock explains. "So Beverly's now working away. television miniseries. Oprah told Ebony magazine that woman was calling who wanted to make a movie with We'll take it to the network, they'll read the script and she' "been talking to Halle Berry and Vane sa We ley Snipe. I aid 'Give me a break.' So I took the they'll either say 'We love it, here are the changes we illiams" about pIa ing the leads. call and realized it wa totally eriou . And later that want,' and then we'll change it and go back again, or Tho e of Harpo' project that go to televi ion afternoon I got a call from Warner Brothers and they they'll a 'We changed our mind; now we want to do rna do 0 a part of infrey' agr ement to do green people,' which is the nature of the bu i­ film in three ear for BC. They'll be ne ." pre ented under the banner of "Oprah infre Pollack thinks the tor ha broad-ba ed Pre ent ," imilar to Ma terpiece Theatre or appeal becau e it' about a family "that we'll Hallmark Hall of Fame. Winfre will intro­ climb in ide of and relate to, no matter who duce, promote and conclude the film, but we are." She believes that the director need doe not plan to appear in them. to be black and female and ay he has idea While Harpo clearly ha an intere t in of who she'd like to go to. frican merican books and projects, they're Disney's Touch tone Picture bought the al 0 workin on torie from other culture . right to Bebe Moore Campbell' hit no el nd, Forte a ,the like doing colorblind pro­ Brothers and Sisters b fore it wa publi hed. ject . One i he a ,"a white book b a white The book' e ploration of how per onal and author hich I de eloped for a black actre --I profe ional pa ion and ethic inter ect and don't kno who." sometime e plode will be a challen e to "I think probabl we are more attracted to translate to the creen, admit uzanne Zizzi, trong women' torie ," Forte ays. "Per onal production executive at Longview Forest Whittiker and Terry McMillan journey that reflect the human spirit. We like to focus Entertainment, which is working with Di ney on the on triumph. Oprah' main mandate and piritual views project. r ally permeate the compan ." II ••• if your first book or first "I think the novel definitely take on orne race infr and Wa hington ha e fortified their relation i ue that we want to be ure are handled creen appeal with bu ine sav y and gone for film ...doesn1t do as well as was well," Zizzi e plain. "It's difficult to tran late uch a behind-the- cen control. und Lane i al 0 great book into a movie, to tr to figure out how to et d eloping the recentl -publi hed Member of the Club the characters right and make sur the Ire not tereo­ for the big creen. Member:.. i the true tory of expected, they1re gonna shine you typed or cliched in an wa." Lawrence Oti Graham, a card-carr ing memb r of After meeting with everal creenwriter, African the black bourgeoi ie out to xpo e raci m in the on and they will diss your ass... 11 American Carol Doyle wa hired to do the adaptation, upper echelons of American life. Hi tale of leaving now in process. "Right now, we're just trying to get the hi ix-figure Wall Street attorney gig to go undercov­ script right; we'd rather do it well than fast," Zizzi TERRY McMILLAN er a a $7 an hour busbo at a Connecticut country emphasize. club caught a hington' e e when it ran a a cover It' becoming more com­ tor in e York magazine. mon for black book to be The book' publish r Harp r Collins ran ad aid they wanted to make the mo ie with Denzel optioned or old to filmmaker claiming that a hington will tar in the film, tenta­ Wa hington. Then arner Brothers and Deborah long before the Ire actuall tivel titled Invisible Man. But artin-Cha e a it artin-Cha e of undy Lane came up to ew York publi hed. John in leton ha nit been decided whether a hington or another and knowing the quality of work that (Washington) bought the rights for athan actor will pIa the title role. had done I said, 'I'm flattered that Eddie Murphy and McCall's Makes Me Wanna Holler The script, written by Judi nn Ma on (A We ley Snipe are interested, but to work with some­ outright after reading the fir t Different World, Sister Act II) and Jay McInerney (Bright one of Denzel's quality i just a dream come true.'" chapter in galleys. Lights, Big City), ha been approved. Graham, who is Independent producer Susan Pollock, whose McCall's true-life tory of a al 0 an a ociate producer on the film, worked closely credit include everal mini eries' including troubled youth, incarceration, John Singleton ith the writ r on tor d v lopment. Evergreen, The Two Mrs. Grenvilles, and The Kennedys of and the road he tra eled to Member: .. i Graham' eleventh book and he Massachusetts, said she'd "been looking for a black become a Wa hington Po t reporter eem a natural

urpri d b th r pon e to th tor " for quite orne time. he got Sisters and for the wunderkind creator of Boyz I the Hood. York rna azin tor (which i the Lovers from Bri coe's agent ictoria Sanders, a "It ju teemed like a real good tor and I liked book' fir t chapter). "The down-to-earth aga of three sisters--one ingle the scope of it," a ingleton, who i writing the went public on a onda ," and looking, one married to a trifling man cript with McCall acting a advi er. "Thi film pan he remember. "By late and the other seemingly living the 30 years in the life of a black man in merica, 0 what Wedne day, I had 17 American dream. Pollock, fell in love you see i black America changing from the 60' phone call from TV or with the story and pitched it to CBS. through the 70's to the late 80's. A you ee the char­ movie companie . My ecre­ "They were looking for this kind of acter evolve, you ee merica--black merica a w 11 tar said 'There' a call from project," she e plain, "and aid it as the other merica--evolve and chan e. omebod who a that he' from wa a good fit." "I'm ju t really tr ing to make ure that I keep the Paramount Picture and he want to Believing that gettin "the original tone and natur and meaning of the book 0 bu the right to our tor to make a right screenwriter is ever - that the people that read the book kno that' it'

BLACK FILM REVIEW/1? done with integrity," Singleton adventure-romance named McMillan recei ed $7,500 for her fir t book, e plain. Beguiled by Eboni Snoe, was Mama, and a that if he'd gotten big buck up front, The project i till" er much in optioned by Pamela Poitier "the next three might not have been written becau e development," Singleton confes e , and (Sidneyls daughter and a I would have been catapulted into an altogether dif­ he isn't certain whether or not it will be his noted director) while still ferent arena." ne t ndea or. He a he know which in galleys. But Poitier' Her fear for the new author i that "a lot of pub­ actor he'd like in the title role, but i nit read option lap ed in March, says lishers are looking for and pa ing up front for their to drop name. ingleton icon idering other Snoe's agent Richard Curti, and ne t black mega-book writer and 0 ou hav a lot of book but ha nit et" napped them up." He has not been picked up. young writers who are very talented and incere being agree that the flood of black books "definitely" pro­ paid really large advances for book that are, in ome vide a iable pool for him to con ider for future case, not finished and in ome ca e , their fir t novel. film. Trend or "Our Time"? And I think there ma end up being a backla h, e pe­ nother book that wa lated for the creen before Only time--and bo office receipts--will tell ciall if their books don't sell as well. it hit the book helve i the newly-relea ed upernat­ whether the rush of black books to screen i a flava fad "A lot of people think, 'Oh, Terry cMillan did ural u pen e novel The Between by Tananative Due, a or a long-term opportunity to open millions of eyes thisl but they forget I have four booi . There' a price 29- ear-old yndicated columni t and feature writer and mind to the complex and diverse truths of black you pay for thi . And if our first book or fir t film or for The Miami Herald. Due' agent Janell alden life, love and literature. whate er doe n't do as well a wa pected, the Ire g eman of arie Brown ociate , says that Due let Connie Bri coe ha her fingers eros ed for the gonna hine you on and the will di our a .. .1 ju t the fini hed manu cript of her fir t novel sit on the long term. "I have always thought the material about don't want to ee this whole saturation where we're shelf for a year, unsure whether it would sell. ot only being paid astronomical sum and if our book don't did it ell quickl , but it's earned favorable reviews in all become Exhale then the writer end up uffering The ew York Times Book Review, The Washington Post, for it." Emerge and el ewhere, and wa quickly optioned for a Only time--and box office receipts-- Being in "the million dollar club" bring incredi­ feature film by Longbow Production (A League of ble pre sure, he say. "Your audience, our publi her, Their Own). will tell whether the rush of Black your editor, your agent, HOLLYWOOD--everybody' Rodriguez, too i enthu ed about The Between. "I waiting for your next book, waiting to ee if tho e ne t think it ha the potential to be a great movie; I think word are gonna be a golden as the la tone." it ill pIa to the cr n ery well," he ay. "Itls com­ books to screen is a flava fad or a Rodriguez ee opportunit a a call for re pon i­ pIe well-weaved... a good thriller. It' free of tereo­ bility from perch at the Quarterly Black Review ofBooks. type. It move very well. It took me." long-term opportunity to open mil- "We have this opportunity to change the image of u . If, after all of this, the image remain the ame, there are no excu e . We can't complain about the image To Film Or Not to Film lions of eyes and minds to the com- Icau e it's our own writer. The re pon ibilit then everal other recently published black book are fall on u ." in the limbo-land of option , where they're "being plex and diverse truths of Black life, He also believe that books to screen will shift con idered" for deal that mayor ma not materialize. our prioritie by making celebritie "not ju t of our l Patrice Gaines Laughing In love and literature. actor, but of our writer a well. Which is ver impor­ the Dark ha attracted inter­ tant, becau e our writer peak for u ." e t from "a lot of places," John Singleton feels "the great thing about it i according to her agent that the films that are being made now in terms of Deni e tinson. Gail black on the creen could be better; not only that I black literature are being made by black people." Gillman, a i tant to the vice could do better, but that other could too." She hope Some writer, like Tina McElro n a, are opti- pre ident at (uzanne) that proj ct like Sisters and Lovers in pire people in mistic. "I believe there' enough room for all of u dePa se Entertainment the film industry to do "more serious type of work. I 'cause I've never een black people read the way (Lonesome Dove, Sister, Sister), know that i not what producer are always looking they've been reading. They're hungry and there' not ay the 're looking at for, but I think it is what we have to pu h so that we enough for them there. They're mad with u 'cause we Lorene Car' coming-of-age are portrayed in a more po itive light," he say. "If donlt have (new) book out. 0 I'm hoping that the autobio raph Black Ice, ome of the book that are in the work now do well, same thing ill happen with film. That we won't feel Tananative Due along with a coupIe of other that will hopefull encourage the indu try to accept 'Oh well, we did the one for this year and Terr got recently-published black books, for film and TV. more of them." it... 1 That it will be seen a 'Oh gosh, thi is the E. Lynn Harri popular two-volume expo e of Terry McMillan, who says she is "really opening of the floodgate. "' frican m rican bi and homo exuality, Invisible Life excited" by the increasing number of "It' all in timing. I have a friend who, wh n­ and Just As I m ha e been looked at as well. Harri I black books coming out, see ever I would tell her e citing new, would a agent John Hawkin a that inger Toni Bra ton potential for good and bad in 'Oh girl, thi is our time. 1 nd the further we may purcha e the right and want to play the role of the trend. Describing her- get along," says McElroy Ansa. "Th more I gorgeou inger/actre icole, the book's main repre- elf as "a writer who has a see that he' ab olutely right. You cannot entation of female allure. large audience, a large read­ top an idea who e time ha come and I The em rgence of black-oriented romance nov­ er hip, for which I'm grateful," do believe our time has come." el , launched b Pinnacle Book editor onica Harri he ay there' "room for all of u at Pinnacle Books in the hi hly ucce ful Arabe que outhere" but worries about new TaRessa Stovall is a Virginia-based Line, ha caught the cameral eye a well. One of authors getting megabuck advances writer who has just completed her rabe quel mo t popular novel, an international for their fir t books. first novel.

18/BLACK FILM REVIEW

VVE ARE THE VVORLD

n his study "The Media Lords: The Great Disney, and Paramount can lay claim to U.S. citizenship. generations is a black man played by Joe Morton. In Total Deceivers of the Earth," (The Kermit Report, Successful independents have been bought by the larger Recall, the character who betrays the lead character is a gold­ Aug-Sept 1991), Devin Walker concludes that and better financed communications and media corporations. toothed, Jehri-curled black man. All three characters die grue­ eight individuals, families, and foundations New Line Cinema, which produced Deep Cove~ Menace II some, violent deaths. control 91 television stations and networks, 71 radio stations Society plus large money makers like The Mask and the Gang-oriented violent movies by black directors also con­ and networks, 145 daily newspapers, several dozen magazines, Nightmare on Elm Street series, has been taken over by Ted vey many of these images. Films such as Straight Out of book distributors, film production businesses, and record pro­ Turner's media conglomerate. BrooklynyMenace II Society, Juiceyand New Jack City project a duction companies. This includes ABC, CBS, and BC, as According to Richard Barnett and John Cavanagh in present and future that feeds and perpetuates tereotypical well as major newspapers like the Wall Street Journal and Global Dreams: Imperial Corporations in the New World Order, views concerning the African Americans experience. Washington Post. These media conglomerates form interlocking Hollywood films have become dependent on the global market The power to create global superstars, from Michael boards of directors with multi-national oil, bank, and indus­ because only 20 percent earn back their initial investment Jackson and Wesley Snipes to Public Enemy and OJ Simpson, trial corporations including Chase Manhattan, Coca-Cola, through domestic sales. Most American films can expect to is a direct function of the new technologies and international Chemical Bank, Xerox Corporation, AT&T, IBM, and earn half their sales outside of the United States. media networks. Driven by previously unimagined levels of American Express. Simply put, control of the production of One universal language that sells well in both the devel­ profits, the entertainment corporations have lured tens of popular cultural power and its avenues of access are held tight­ oped and developing worlds is American violence, and increas­ thousands of black youth from the inner-city to seek careers as ly by a small elite of corporate power. ingly, American inner-city, black violence. Films such as New rappers, singers, actors, and sports stars. Simply put, control of the production of popular cul­ tural power and its avenues of access are held tightly by a small elite of corporate powero

J.h, j In the cutthroat world of corporate takeovers, even the Jack Cityy Menace II Society, Trespassyand Boyz 'N the Hood can Profit-driven capitalism alone can't be blamed for biggest media operations are food for larger imperial-minded be seen in countries as diverse as Guadeloupe, Chile, Europe, exploiting our miseries for profit. African American communi­ enterprises. In a pivotal two-day period last summer, the Walt Zimbabwe, the Peoples Republic of China and, of course, ties must also be less tolerant of those who collaborate in what Disney Company acquired Capital Cities/ABC Inc. for a Europe and Japan. Most black Hollywood films have a has been referred as "driveby cinema." A critical voice should record $19 billion while, less than 24 hours later, CBS agreed crossover appeal and draw global audiences that make them be raised against those in Hollywood who participate in the to be bought out by Westinghouse Electric Corporation for highly profitable. The bulk of Hollywood's profits on black production of films that are ultimately harmful to the black $5.4 billion. It was only a decade ago that ABC was gobbled films are from domestic and international non-black audi- community and that perpetuate racism, sexism, and class bias­ by Capital Cities. The further concentration of media power ences. es. This is not a demand for censorship, but rather an advoca­ into a smaller number of hands continues the trend of placing In addition, black films almost always return a profit cy against those who continue to misrepre ent the cope of the much of the world's popular cultural agenda into the hands of because they are so cheaply produced and do even better out­ African American experience. corporate barons and executives. side the United States where they share longer runs with min­ The opportunities that have opened up in Hollywood for These corporations also have interlocking directorships imal advertisement and promotion costs. In 1993, Hollywood many of the young black directors, actors, and producers-­ with high-powered policy organizations such as the Trilateral films by black directors sold 29 million tickets world wide. A most ofwhom were not born during the era that kicked down Commission, Business Roundtable, Business Council, Council film like Hollywood Shuffle cost only $100,000 to produce, but those doors-- should not betray the history of struggle that One universal language that sells well in both the developed and developing worlds is American violence, and increasingly,

American inner-city, black violence o '

on Foreign Relations, and the Committee for Economic made at least $10 million in return. African Americans have waged to created genuine and more Development. As entertainment has become a multi-billion Negative stereotypes of African Americans are exported realistic images ofAfrican American life. This puts a responsi­ industry, globalization has also penetrated the cultural sphere. on a grand scale, particularly images of black males as preda­ bility on the black cultural consumer to not support projects In the United tates, entertainment provided the third largest tors. In recent films such as Just Cause and Losing Isaiah, black whose interests are not to the benefit and upliftment of the trade surplus in 1989 behind only food and aerospace prod­ people are psychopathically and genetically wedded to low-life, African American community. ucts. Internationally, entertainment sales of U.S. products criminal behavior perpetuating the image of blacks and the On the positive side, many contemporary black were about $150 billion. In every major area of popular cul­ poor as a menace to white mainstream society which must be Hollywood movies have attempted to portray racism as insti­ ture, capital has gone global. The centralization of industry contained if not eliminated. Hollywood discriminates against tutional and systemic rather than just individual. This is an that Karl Marx predicted is as real in the cultural sector as in people of color with equal zeal. Arab "terrorists" and Latino important departure in today's conservative political "blame­ other economic sectors. Fewer and fewer corporations are con­ "drug lords" stereotypes are also projected with regularity in the-victim" atmosphere shown in films like Boyz 'N the Hoody trolling more and more cultural territory. Film, music, televi­ blockbuster films like True Lies and Clear and Present Danger. Hollywood Shuffleyor Do the Right Thing. Nino Brown's court­ sion, clothing, shoe wear, video games, and other areas of pop­ Even in science fiction films about the future negative room confession in New Jack City about the means by which ular culture have been extracted as much as possible from their racial stereotypes prevail. In the popular movie, Demolition drugs flood into America is more relevant than any discussion local or small capital origins and now are multi-billion dollar Man, the "greatest criminal" of the 20th century is a black man on the subject emanating from Capitol Hill or in the media. industries. played by Wesley Snipes who sports blond hair in the movie. But these films, with their disproportionate attention on the Hollywood has also gone international. Of the seven The story pits the Snipes character against the "greatest law "ghetto," are problematic and while acknowledging their major Hollywood studios two are owned by the Japanese enforcement officer" of the 20th century played by Sylvester worth we must also honestly confront their shortcomings. (Columbia and Universal), one by Australians (20th Century), Stallone. In Terminator 2, the person responsible for inventing The attack on the urban poor by politicians, scholars, and and one by Italians (MGM-UA). Only Warner Brothers, Walt the weaponry that launches a nuclear war that destroys future the media is not the reality that comes to us across the screen. 20/BLACK FILM REVIEW VVE ARE THE VVORLO

The attack on the urban poor by politicians, scholars, and the media is not the reality that comes to us across the screeno

Black filmmakers must seek a multi-representational voice that masterpiece. global politics. For example, a film like Haile Gerima's embraces the range of ideas, struggles and concerns that shape Most of the new black movies glorify materialism and Sankofa, brilliant in its conception and execution, grows out the politics of the black community and the larger society. consumerism. The assumption that success equals wealth is of a filmakers critical reflection of historic options and assess­ Black filmmakers, for the most part, have not tackled these never questioned and, in fact, underlies virtually all the prod­ ment of the political state of black America. And most impor­ realitie . Many have settled for creating characters types that fit ucts of popular culture. A value system must be challenged in tantly, through independent distribution the film has played smoothly into the safe range of Hollywood image construc­ the society as a whole and in the black community where it to packed theaters, garnered national and international atten­ tion. Black political life is reduced to caricatures of black has such fatal consequences. The products of popular culture tion and has, according to variety Magazine, earned $2.8 mil­ nationalists who rant incoherently while rhetoric-sprouting has played a critical role in promoting these values and must lion. "gangstas" are elevated to political philo ophers. be held accountable. Black filmmakers could make a positive Perhaps most challenging will be finding the avenues of Intellectuals don't exist in black films. Perhaps with the contribution by projecting alternative values in their work. mass education and dialogue between black filmmakers and

As lono-o as the economics of maximum profit determine product, black Hollywood films will be compromisedo

exception of Laurence Fishburnes' role a a college professor in As long as the economics of maximum profit determine their communities. The dialogue of exchange must take on a John Singletons' Higher Learning, it is difficult to remember product, black Hollywood films will be compromised. Within number of forms. It means black filmmakers finding ways to the last time there was a character in a black film with a book. that system, however, there are struggles to be waged. One of communicate, educate the black community to the reality of It i also projected by these films that men are in charge. the most important is over alternative narrative constructs. As filmmaking, i.e., the political economy of production, distri­ Women, with the notable exception of Daughters ofthe Dust Ed Guerrero writes in Framing Blackness, film treatments of bution, and exhibition. It mean a higher level of cultural and and Sankofa, are still reduced to secondary, exploitative roles. the works of Toni Morrison, Toni Cade Bambera, Octavia media literacy on the part of the black community. Then and Women are often ornaments to the male hero no different than Butler as well as James Baldwin, Zora Neale Houston, and only then can influence be exerted over the economic in Hollywood movies in general. This is partially due to the other classical black fiction writers would give a broader rep­ exploitation and ideological assault that governs Hollywood's erroneous view that the crisis of black men is more significant resentation of the African American life. historical and present relationship to African Americans. and urgent than that of black women. This simply is not true. Original works, of course, are still important. In this It can not be tressed enough that Julie Dash's Daughters ofthe sense, black filmmakers would do well to study the history Dust is a mode-breaking, convention-shattering cinematic and contemporary state of black America and national and Clarence Lusane lives in Washington, D. C.

Hollywood Profits Frol1llJl~!k ~~ilms Hollywood profited well over aqUbrter bf:O'billion dollars in~ddn&St~gn~Jnfe~n1iiJhdlc.·on.seven Black films made from 1993 to 1995. Here's the breakdown of those box office smashes:

Title Profit ARage in Harlem S 2,000,000 Boyz NI the Hood S42,000,000 Do the Right Thing S22,500,000 House Party ;;.S~3~500,OOO Jungle Fever S18,000,000 New Jack City S42/000,000 Straight Out of Brooklyn $2;173,000

Total S150,173,000 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• Figures compiled from the following sources: (arlo Hall, "Breaking Down the£olar B~ri;f!" ~ashln~~on. Post, Sept. 24, 1991; Karen Grigsby Bates, 'They've Gatta Have Us," New York Times Magazine, July 14, 1991; "Intelligence Report, "Parade Maga~fll~;,:;p(l. 6;:"l:~~t;:Ih~!·'~~i.,~ro'~s(i~'lack Films-1991," Dollars &Sense, January 1992; Mark Lowery and Nadirah l. Sabir, 'The Making of Hollywood, "Black Enterprise, December 1994. <> . '

BLACK FILM REVIEW/21 ()(

l ( () UP ( () InTfRVlfW WIT~ flo GflY GRiffin

Litany for SurvivaL a feature length biographical documentary distributed by Third World Newsreel profiles Audre Lorde--political activist, lesbian mother, author of18 books, beloved teacher, once the official New York state poet who died ofbreast cancer in 1992 at the age of58.

To capture the personal dynamism and the politically engaged perspective of Lorde, director Michelle Parkerson andproducer Ada Gay Griffin interweave interviews with her; observational footage that ranges from a poetry reading to a quiet talk with her daughter to leading a seminar. Fleshing out the portrait are comments by colleagues and commentators, including socially conscious poets Adrienne Rich, ]ewelle Gomez and Sonia Sanchez.

Litany ofSurvival thus becomes a portrait not only ofLorde, but ofa movement and an era in which civil rights, gender rights, and socialjustice were vivifying themes.

The film took eightyears to finish, in a hand-to-mouth fundraisingprocess that involved both private foundations and a virtual alphabet soup ofpublic agencies. Producer Ada Gay Griffin talked with PatAufderheide about thatprocess, andabout the needfor more African American storytelling in film and video, while at the Washington, D. C. International Film Festival in May 1995. BY PflT fl UfOfR~f IOf

22/BLACK FILM REVIEW Black Film Review: How did you come to know story. Looking for Langston was brief: powerful, and almost a lie, because to lump lesbians and gays togeth­ Audre Lorde? beautiful. It was engaging an icon, Langston Hughes, er is pushing it further than it is. So she felt that she was in a way that was completely new. So those two films called upon to do a lot ofwork that should be done by Ada Gay Griffin: I met Audre at a reading in Amherst, made by men really had a profound impact on me and other people and with more of a community focus. when I was a student at Hampshire College. on my ability to continue working on this film. She was tired ofbeing mythologized. Ofcourse we all need to look at ourselves, to think highly of our­ BFR: How was Audre Lorde involved in structuring BFR: What was the division oflabor between you and selves and use a centered definition of the world. But I the fum? Michelle Parkerson on this film? think Audre felt isolated and frustrated by the inability of the rhetoric ofsocial justice movements to become a AGG: She chose many of the poems we used, like one AGG: I had a very strong vision for the film, in terms reality. that she reads for the camera--a poem called "Power," of content and what I wanted it to accomplish. I think one of her most important poems. Early on in the Michelle had a better sense of how you do that in film BFR: Audre Lorde was ill with cancer throughout the process, I asked Audre to write down the poems she than I did. She had made films before, and had a much production. Did that create problems? thought were important, and the people she thought greater mastery of the craft. were important to be in the film. Some are in the film, AGG: Oh, yes, that and other disasters. While we some are not. BFR: Was this a particularly hard subject to raIse were making the film, Audre was critically ill at least Audre was a political person, meaning she was funds for? four or five times over the six years we worked with her. conscious of how everything she did could impact We went to Germany to film her and ran out ofmoney social change. And so we simply hung out with her and AGG: I think independents have a hard time raising and came back. Then Hurricane Hugo devastated the were available to record her speech, for instance, upon funds for documentaries. We started raising money for island of St. Croix, so we didn't shoot a frame of film receiving the award for ew York Poet Laureate in this film just as funding for the arts was starting to end. for another year. She had to rebuild her home, and we 1991. We were in her poetry classroom in Hunter It was the middle of the Reagan years. What helped us ran out of money. College, at the last poetry workshop she ever gave. was that the platform was so diverse. And we helped Meanwhile, of course, Michelle and I had jobs to So her involvement in one sense was, "You may educate people as we went along. People who knew do. In the process of making this film, Michelle made come with me everywhere--to talk to my doctor, to see Audre were much more likely to jump on board. It's a another film, directed a play, and taught at two or three my class." But she also said, "You may not shoot me problem, poetry. It sounds boring--"It's a film about a universities. I produced touring exhibitions, and was unless I am empowered in that situation." So if there poet." There is not great enthusiasm. executive director of Third World Newsreel, and so I was a situation when she was not empowered, like ifshe For years, we only were funded by institutions and had my work to do. wa too sick, we wouldn't be filming her. organizations that had women of color. We got partic­ Even so, there was never a time when we doubted ular help from foundations that have women as pro­ we would finish the film. We knew how important it BFR: So there are aspects to Audre Lorde that are not gram officers--people who would put together panels of was to have this work. revealed in the film? people who would understand what we were trying to do. The lesbian and feminist communities supported BFR: What did you learn in making this film? AGG: There were sides of Audre she did not make the film very early on and very enthusiastically. available to the film, such as some of the most intimate Ultimately we got funding from the Independent AGG: I learned so much from Audre Lorde, like so parts of her relationships with the people she loved. Television Service [ITVS] , but money was a tremen­ many people did. And I also learned about death and And also the pain she had to live with in the last part of dous problem for us. dying, and there's a powerful lesson there. It's a lot like her life, the pain of being isolated from a lot of the birth. It's painful, it requires a lot ofattention and sup­ things she loved--speaking and teaching and engaging BFR: In fundraising, you were appealing both to gay port, and I never knew that. The way she handled young black women. Those were the kinds of things and to Mrican American constituencies. They are death was very moving for me. I'll never forget it. In she was losing, and it was very painful, I believe, but we communities that don't always have as much overlap one way that was the most important gift she gave me. didn't really get access to it. as you might wish. Was that complicated? There were points where I said, "We don't need to And I don't think it was important for the film. make this film. I carry it inside me." The process of The film presents her in a very strong way, in a position AGG: Well, I don't think that African Americans are making it was almost enough. of power and strength, which I think is legitimate. If I more homophobic than anyone else. In this society was an architect I would have built a pyramid for this we're all suffering from the diseases of patriarchy that BFR: What kind of effect do you hope the film has? woman. come with it, the ignorance and prejudices. But in this country, the different social issue movements have not AGG: As an African American woman, when you see a BFR: What were your influences? found ways of joining forces, of using their differences film that speaks to you, like Daughters ofthe Dust, for in a constructive way to further their liberation. the first time, you weep with joy ofseeing your history AGG: When I saw works by Haile Gerima and by Audre Lorde in her writing, in her world view, in presented in a way you've never seen it. It's so impor­ Christine Choy I decided I could do this kind ofwork. her priorities, came very close to drawing connections tant to have history presented in the media that in the Also two films were very important to me. First, there between liberation movements. Those connections most powerful medium on earth. We recognize the was The Times ofHarvey Milk, by Richard Schmeichen were rooted in her own experiences. power of the film and the moving image, but it's so and Rob Epstein. That film made me realize that not inaccessible to us, particularly as African American only was it possible to do a film on Audre but we had BFR: And she didn't get bitter? women. to do it. They were very generous to tell us what they I think that it's no coincidence that so many films had to do to make their film. AGG: I would say Audre felt isolated, and did get bit­ by African American women filmmakers are portraits The other film, which was made while we were in ter. She felt isolated, because she embodied these con­ of other women or are historical portraits, or are auto­ process, was Lookingfor Langston. This film made a rev­ nections but the movements hadn't gotten there and biographical. We need to have our history and our olution within me, on many, many levels. We had to haven't gotten there yet. She became a symbol in the lives, our experiences available to each other and future try to be as innovative as possible in telling Audre's gay and lesbian movement. Even to say "movement" is generations who are yet to be.

BLACK FILM REVIEW/23 And it's also important to us to have hands-on that, our mothers have, our communities have. At the AGG: I think it's legitimate for everyone to tell their access to the tools of the moving image. We are so far same time, we do bear a lot of scars and pain that own stories, but I am concerned that there be people behind--but we're there. We're establishing a tradition, require a lot of maintenance and that sometimes don't who study and practice their craft of telling stories on not only in cinema but in other fields as well. African get attended to. whatever moving image technology is available, and Americans don't even have an African cinema that's old It's hard but it's worth every second, because we are committed to doing that as their life's work. I don't enough to rebel against yet. We are not at the level have to do it, it's our responsibility. Just as people think people of color have any less responsibility to where we can say, for instance, let's junk the French­ protested the war in Vietnam, or lynching, we have to pursue that line ofwork than anyone else. financed African films as an influence on our work. We do this work. It's really important that there be a very positive, don't have enough breadth ofwork to have a rebellion progressive approach to the continued work of docu­ against the mainstream. BFR: Will this film be seen on television? mentary filmmaking. Forget the people who say, 'well, African American women are part ofa global move there are funding problems,' or that there's so much towards reaching out, seizing technology, making an AGG: ITVS and the Corporation for Public centralization of power in electronic media, or that impact. I felt Audre made a huge contribution to the Broadcasting have an option to put it on the air. But documentaries are not important because there's not self-determination of African people globally, and to a there is as yet no plan to offer it, because it hasn't been an audience, or that black people are not interested in redefinition of what we mean when we say human delivered to them yet. We agreed to provide an hour­ that kind of thing. That is fear and negativity, and it rights, human liberation, human progress. long version ofthe film; we're still in the process ofcut­ does not help. We need to focus on production. It's ting that. important that the work be made. There are many sto­ BFR: It seems like times are getting harder for inde­ ries that haven't been told yet. pendents. BFR: What's next for you? I would also love to see more black producers in Hollywood. I don't think it's an evil place inherently. AGG: Someone said that black women have always AGG: I want to work on a series of films about race in It's important to have black filmmakers in all permu­ seen worse. We're used to experiencing hard times. And rural and semirural and suburban environments in the tations of the technology, from experimental video we're used to being outside any community, and on the United States. The militias have always been out there, makers to camcorder guerrillas to Hollywood produc­ lowest rung. So when the arts community is suffering, and all black people do not live in inner cities. There ers. we've been suffering all along. Now that there's a pos­ are a lot of questions I have about the experiences and sibility of making a feature-length documentary that realities of black people outside inner cities. might have the prestige of a Camille Billops Finding Patricia Aufderheide is an associate proftssor in the Christa, for example, well, the funds are drying up. BFR: Do you think small format video technology will School of Communication at The American University But that's not surprising. We have experience with help some of those people to tell their own stories? and a senior editor ofIn These Times newspaper.

WASHINGTON, DC INTERNATIONAL FILM FESTIVAL APRIL 24 - MAY 5, 1996 Featuring A Tribute to Eartha Kitt W.E.B. Dubois by Louis Massiah The Mrican Child by Laurent Chevallier My First Natne is Maceo by Wigbert Mosohall Silences: Manu Dibango and Mrican Protnjrom the BBC and much, much more For Inore inforInation call 202.274.6810 or fax 202.274.6828

24/BLACK FILM REVIEW MadisonHotel, Washington,D.C., how much didyou getfor Dead Presidents? Sept 20. Noon Allen: Over $10 million. BFR: This is your second movie in which the protagonist is a sort ofanti-hero] basically a BFR: Much over $10 million? good guy forced into questionable behavior-­ someone makes moral judgments based on the convenience of the situation rather than any fundamental sense ofethics. BFR: How did Menace do overseas in interna­ tional release? Allen Hughes: That's what excited us about the script, the protagonist has flaw. Good Albert: It did well in France and Germany; but and evil split down the middle. I think peo­ not that well overall. One of the reasons was ple identify with those characters as real peo­ that we weren't willing to do a bunch ofover­ ple, a opposed to characters who are one seas press and promotions. When Menace dimensional. Actually, I'd like to do a movie showed in France, every question we got from with no protagonist, where everybody in the movie is a bad Albert: We wanted to use a lot more of the book in this film, the press was about the state of black America. obody could guy. Good guy aren't interesting they're not daring. You three or four of the stories, but Terry seems dead set on sell­ take the movie just for its own sake. Unlike some other film­ learn more about a flawed individual. ing the entire book--hoping that someone will come along makers... and do an epic on all 20 ofthe stories. I just don't think that's BFR: One ofthe comments that people are making is that the gonna happen. Hollywood's just not going to go for some­ Allen: Like your boy, Shorty... relatively brie/Vietnam sequence is light years better-and more thing that big about black folks in Vietnam. Plus you can't accurate--than a lot ofother entire Vietnam movies. YOu both squeeze all of that into one movie. Albert: ... we don't try to speak for all ofblack America. We just are too young to even remember that time] how then do you make movies. recreate something like that with such precision? BFR: How did the years you spent doing music video--compress­ ingafull story intofour minutes-- translate to p roducingfeatures Allen: We don't have any hang-ups or any agendas. We're not a Albert Hughes: The research was the most fun for u . Mostly for the big screen? part of the "black filmmaking movement." There's nothing we watched a lot of documentaries and news footage, as wrong with voicing your political views, but film is the wrong opposed to other Vietnam movies. You get a more accurate Allen: It actually helps, particularly with technique. For one venue for that. Even Oliver Stone goes over the top with that. picture of environment and atmosphere. The Vietnam thing, because of music videos, we bore easily. So the temp­ You have to find a happy medium somewhere. You see some equence was actually based on a chapter of Wallace Terry's tation to keep adding this scene and that scene just isn't there. directors trying to put agendas in their films and their fears and book Bloods, and that, along with the technical consultants If it doesn't help tell the story, we don't have a problem cut­ insecurities really show up. Just direct! helped to paint a better picture. ting it out. We see each scene as a separate music video, each one is a tiny movie unto itself. But in film, you don't have as BFR: In that vain] how do you avoid the Spike Leel PuffDaddy BFR: Thats funny that you mentioned Wallace Terry. He was much flexibility to make mistakes. In music video, mistakes syndrome and keep yourselves out ofyour own films? one ofmy journalism teachers at Howard at the time he was can always be construes as art, since nobody knows what writing the book and hes been trying to sell that book to you're trying to do anyway. Albert: (laughs) We know we don't look good on film. We've Hollywood for over a decade. Have you negotiated with him got big noses. Plus, ifyou get someone like a Chris Tucker or a about doing the rest ofthe book? BFR: YOu also get a bigger budget. Menace cost about $ 3million] Larenz Tate to be in your movie, and with their ability to act

BLACK FILM REVIEW/25 and show emotion, why do it your self ifyou can get someone BFR: But why the decision to leave the scene out? BFR: Carl was Laurel Avenue, which you directed for HBO, else to do it. You would hope Spike would learn from that. intended to be a series? There seemed to be a lot ofquestions unan­ Franklin: Well, when you think about it, the relationship sweredfor a one-time show. BFR: Speaking ofLarenz Tate, he's developing quite a reputation between Easy and Daphne doesn't happen until about the last for coming on to the set in character. .. sixth ofthe book. In the translation from the literary to the cin­ Franklin: There were two camps of thought on that. Actually ema, you can't establish a relationship at the end of the movie. HBO wanted to legitimize their own profile, and wanted to Allen: That was funny working with him. For a while we A relationship between the two would have muddied the story continue the program in a special format. The first special thought there was some kind of conflict going on. He would line. We had to give the character Carter something to lose. The revolved around the daughter and her job promotion, the ec­ come to the set and we would go "Yo Larenz, what's up?" and reason behind Daphne's action had to be more clear. All of that ond was to be on birth, then death, then a wedding, and on he would just give us a nod, and we'd be going, "Who does he would have been compromised ifwe took a detour and created and on for once or twice a year. It was really the producers who think he is?" We weren't understanding. But we realized he was a relationship with Easy. It's difficult when dealing with action, had different expectations for what they wanted, which wa a coming in character. He's really a complete actor. The strange ifyou stop to give psychological perspective that can't be played weekly series. thing is that his real personality is completely different, most out. You can't rely too much on flashbacks. In fact, they are the same people who produced Under people might even like him better in character. One Roof for CBS, which was basically a ver ion of Laurel BFR: How much did the choice ofDenzel have to do with having Avenue. And as you could see, it was harder to maintain that BFR: Any chance thatyou all will be producingfilms by other new an actor who would age well with the book series? quality of material in the weekly series format. directors? Franklin: Not a lot. The continuation of the senes really BFR: How did you develop the feel the really authentic look of Albert: I think we will eventually, but it won't be like Spike does depends on how well it does. It has to perform well. We spent 40's Los Angeles? it--with the big "Executive Produced by.. "at the top of the film. close to $22 million on this film--and Denzel had a lot to do I think pike really hurts himself when he does that. In reality with us getting that kind of money: I was introduced to the Franklin: It really came from the book. It wa n't noir, bit I the only name you notice is Spike Lee, not guess it was noir-ish. We spent hours at the these other guys. And some ofthose films have LA County Library studying photographs of been really terrible. Spike is a talented guy; and that time. There just happened to be an that makes him look bad. You should just let a exhibit at the library when we tarted shoot­ guy direct, give him final cut, and let him take ing that was a salute to black Los Angeles. the responsibility for the outcome. People compare the film to Chinatown, but other than it's a mystery and it's et in Los Madison Hotel. Washington, D.C., Angeles, that's not a fair comparison. Usually Sept. 20, 1:30pm when people do a noir kind offilm they work in very saturated primary color. We decided BFR: Walter, what do you think ofthe compar­ to create a real murkiness around the frame, isons between you and Chester Himes? more darkness, more earth tones. We decided not to use heavy filters but to contrast the Mosely: People always make that comparison, colors actually in the frame--trying to give a but frankly, I don't see it. People see me as a real sense of post World War II America. mystery writer because that's what I'm known for, but it's only a part ofwhat I do. BFR: How didyour experience directing under But he's a wonderful writer. I wish that Roger Corman influence your work? his books were known more to the main- tream. You know, crime fiction is a great genre for black writ­ book back when I was shooting One False Move, and immedi­ Franklin: (laughs loudly) Well, let' just ay that working with er . There are so many things to explore, such as the disconti­ ately I went to work to try to get the option rights. As it hap­ Roger gave me great motivation to move my career forward. nuity of how the law applies from one group of people to the pens, Denzel had read the book and was also interested in the Ron Howard said one that Corman had said to him, "Kid, if other. Also, crime affects us more in our community, so I think character, so it was inevitable that it would happen, at least for you do a good job on this picture, you'll never have to work we have a different perspective on it. this film. As far as the series goes, who knows? Denzel is booked for me again." That's about how I felt. until the year 2000. BFR: I was amazed at how faithfUlly the film followed the book. BFR: Will you ever go back to being in .front ofthe camera? But leaving the briefsexual relationship between Easy and Daphne BFR: Walter, it's rare that the author ofa book that becomes afilm seemed a glaring omission. In the book, Easy's making love to travels on the press tour with the director and shares in the credit, Franklin: Never again. I look at myself on film a couple of Daphne, whom he believes to be a white woman, and he goes yetyou didn't write the screenplay. .. years ago, and I wouldn't hire me. I really got soured on act­ through this major catharsis because he thinks he's taking some great ing. I was out there at a time when our main black stars in film risk--a leap into the unknown. It gave us real insight into Easy's Mosely: Books and films are really two different things. The were Richard Pryor, and Fred Williamson who had his own B­ mindset. But then he finds out... script ofa film would take up maybe 50 pages copy in a book. movie thing going--athletes and comedians. It was very fru ­ I had a lot more room to explore the story in the book. Plus, trating. And now, I just didn't have the desire to exercise those Franklin: ... Don't say it! Actually I'd hope that you wouldn't I trust Carl. The first time I saw One False Move, I knew that same muscles. write that in your tory. It's not a Crying Game kind of thing, he was the one to do Devil in a Blue Dress. And he's done a but it i an essential element in the story... wonderful job--it's a beautiful film. BFR: What's nextfor the Easy Rawlins mysteries? One of the great things that Carl did was, ifyou looked BFR: lOu really think mostpeople believe Jennifer Beals is white? at the crew, there were people of all races and cultures, like Mosely: Well right now RL's Dream is in the bookstores, which Tak Fujimoto and others. And it was great to see that diver­ isn't about Easy, but it's a blues novel. But the next Easy book Franklin: You'd be surprised. But even those who know would sity of people come together to create the story of a black is A Little Yellow Dog, then Bad Boy Bobby Brown--not the ay that she hasn't really portrayed any "black" characters hero. And that's really what Carl and I are all about, we cre­ story ofWhitney Houston (laughs)--and then Ruby. before... ate black heroes.

26/BLACK FILM REVIEW TEL EVIS ION

Global Vision's Rights & Wrongs, program hosted by that commercialization of PBS affiliates could have the Meanwhile, NBC has decided to give the QDE pro­ Charlayne Hunter-Gault (as mentioned in BFR 8.2) undesirable effect of creating a "new commercial com­ duced sitcom In the House featuring Debbie Allen and has now been cleared in all top ten markets on local petitor in virtually every television market in the coun­ LL Cool J another chance, again following The Fresh PBS stations. Already shown widely in Eastern and try." Under One Roof one of the highest quality televi­ Prince. Western Europe, Africa, Asia and the Caribbean, the sion dramas about African American family life, was show is gaining broader acceptance due in part to its canceled and we're still waiting for the answer to the Another successful bit of programming on UPN is current funding from the McArthur Foundation, the question. teen-age pop sensation, Brandy Norwood's, latest tele­ Independent Television Service (ITVS) and the Aaron vision effort. The show is so live that every girl six-years­ Diamond Foundation, among others. R&W is being And what is Thomas Carter doing now? Working on old and up is glued to UPN for their weekly dose of distributed nationally by the American Program feature film for Caravan Picture called Metro with Moesha, a Big Ticket Television production, in which ervice. Hunter-Gault recently received an honorary Eddie Murphy and Michael Rapaport (Higher Brandy plays a very hip, intelligent 16-year-old coping degree from Howard University for her career Learning) Mighty Aphrodite) True Romance) with a win­ with the pressures and demands of growing up. Each achievements. ter 96 release date. His television movie, Divas, aired episode closes with a thoughtful entry into her Diary. last fall on FOX and he has several more in develop­ Two new books from Focal Press are designed to give ment for cable. The professional savvy and polish that has Brandy's lat­ television writers deeper insight into their craft. Writing est musical effort, Brandy, dominating the upper reach­ Docudrama: Dramatizing Reality for Film & TV After months of promotion, the film community in es of the pop music charts for the last several months (224pp/$24.95) by Alan Rosenthal offers a conception many major cable markets is still anxiously awaiting and her touted as the music award darling, is serving to completion guide for writing fact-fiction film. The Bravo's Independent Film Channel. It seems that the this young star well on the small tube. Sheryl Lee Ralph book includes case studies and filmographies as well a promos are not completely clear if Bravo and the IFC (It's a Living) Designing WOmen) Distinguished very helpful primer on legal rights and options for pro­ are the same, or if the IFC is a spinoff cable network. Gentleman) To Sleep With Anger) and William Allen ducers who want to grasp fiction from real life newssto­ According to the folks at Bravo, the truth is a little of Young (WOmen 0/ Brewster Place) Knotts Landing) as ries. Mary C. Johnson's The Scriptwriters Journal both. The IFC is, in fact, a separate channel. However, father and stepmother to Brandys' Moesha are a refresh­ (208pp/$14.95) is intended as a step by step guide to like many others, it is in competition to be included as ing respite from the usual over-exaggerated and under­ the scriptwriting process, and offers blank pages for standard or premium programming. And in many larg­ developed characters which dominate weekly sitcoms. recording momentary flashes of brilliance. Both are er markets, available space is at a minimum. In the available from Focal Press, 313 Washington Street, meantime, Bravo is carrying a greater amount of inde­ Thanks to visionary executive producer Ralph Farquhar ewton MA 02158. 1.800.366.2665. pendent films on its regular programming schedule. (South Central) and the writing team of Sara V Finney and Vida Spears (Family Matters) who are also co-exec­ The Thomas Carter-produced CBS serIes Under The industry-wide public service campaign Voices utive producers and co-creators, the series has a modern One Roofgot a lift from The New York Times) which Against Violence scarcely made a dent in broad and vibrant look, reflective of family life in the 90's. In effectively tied the ultimate success, or failure, of the public awareness, but Viacom properties, in particu­ one memorable episode Moesha's father shows genuine show to the debate over government funding of PBS. lar Showtime and MTV, are to be commended for parental angst as his daughter turns 16 and, therefore, The point was that if Under One Roo/failed in the rat­ making the strongest attempts at participation. "datable." Submitting to his fatherly paranoia, he vio­ ings game and was subsequently cancelled, then it was Showtime anchors its efforts with the powerful lates his daughter's privacy by sneaking and reading her further proofthat we cannot depend on the open mar­ Zooman, a film adaption of the play, Zooman and the diary. When his wife insists that he return it '...where he ketplace to breed and nurture quality programming. Sign. While ratings were relatively low for the televi­ found it and how he found it... ' it is hilariously familiar Does it then follow that if the series had became a hit sion premiere, Showtime's local theater screenings in and touching. that the door would be open for PBS stations to Washington, D.C. and NYC won unanimous praise become privatized? from theatergoers. Also contributing to the show's great look is the open­ ing and closing credits, designed by Lorenzo Wilkins of PBS president Ervin Duggan warned incumbent broad­ Fledgling network UPN has cancelled all its current Shadoworks, creator of BFR's new look. This show is casters attending the International Radio & TV Society schedule with the exception of Star Trek voyager. big ticket television.

TEe H W ATe H

ruising, surfing, browsing. Whatever you choose to call it, exploring the offerings on This web site lives up to its self-billing as Hollywood on the Web. With entertaining, user­ the global internet system opens up a world of information, allowing you to travel friendly graphics, it's an easy to navigate resource for weekly updates on studio moves, films C and meet new friends without leaving you chair. And just like any travel tour, you can currently in production (studio and independent) and box office grosses. Also available as an select the standard tourist package, or you can go out and hit the streets, finding all those e-mail subscriber service. interesting corridors off the beaten path. If you're just logging on or you've been on the net for a awhile, here's BFRISlist of some FILM COMMENT of the more intriguing cyberspace addresses. http://www.interactive.line.com/film/cover.html The venerable magazine of the Lincoln Center is no less stuffy on the internet, but it's still hard FILM ON THE NET to beat for scholarly reviews.

HOLLYWEB ONLINE FILM GUIDE ASHLEY MARCELLINE'S BLACK FILM & VIDEO GUIDE http://www.ingress.com/users/spease/hw/hollyweb.html http://www.inforamp.net/ashleyma/blackcine.html

BLACK FILM REVIEW/27 I M 0 RET ECHW ATe H

The electronic version of the 150-page guide available in THE DRUM: many bookstores, the web site is not extremely comprehen­ http://drum .ncsc. org sive but a great beginning for basic data on black films and The Drum, founded by cybersurfer and engineer Charles Isbell, where to find them. The guide also provides several links to serves as a gateway, if you will, to African American resources many other black-film related web sites. on the net. While not as comprehensive as the Black Pages, its interface is more user-friendly and more of the links tends LONDON FILM SCHOOL toward resources and high-end scholarship. http://cityscape.co.uk/users/cs88/index.html Registration and application information for the school which graduated folks like Tak Fujimoto and Michael Mann. OTHER SERVICES Less sucessful but still interesting are a sprout of for-profit U OF NOTRE DAME FILM SCHOOL gateways which barter home page time in trade for financial http://www.nd.edu/-cothweb/wwstudfilm.html sponsorship, and most of the offerings are commercial inter­ One of the best uses of the net so far, the site provides video ests such as retailers, phone companies and other consumer SUBSCRIBE clips and still photos from Notre Dame student films. You'll businesses. need a very high speed modem, a video card and a good sound card to fully appreciate the material, however. Afrinet: http://www.afrinet.com

NOW! DIRECTOR'S GUILD OF AMERICA Melanet: http://www.melanet.com http://www.leonardo.net/dga/index.html Online information for emerging and aspiring directors on how to join the DGA. OTHER POINTS OF INTEREST Countdown to 2000 with a These sites have nothing to do with film, but will give you a MOVIEBASE good sense of the real potential of the internet. subscription to http://www.mus icbase. co. ukIm ovie/ British-based home page featuring excellent reviews and ANC DAILY NEWS BRIEFINGS commentary on contemporary film. http://minerva .cis. yale. edu/-adwat/anc/ BLACK FILM REVIEW! This is what God intended when he invented the internet. We PROFESSOR NEON'S have yet to find anything on the net more relevant than the ANC Receive three issues of http://www.vortex.com/ProfNeon.htmI news briefings. Here you can find up to the minute information Fun, quirky source of reviews and comments on new and old on South Africa's constitutional talks, Angola troop movement Black Film Review for schlock films. and the daily soap opera that has become Winnie Mandela's life.

AFRICA $12.00. DIRECTORIES www.africa.com In order to weave your way around the internet maze, the best Originating in South Africa, this site (with excellent graphics) way to begin is to click on to one of the many directories offers everything from links to major African universities to a which serve as unofficial "yellow pages' of the superhighway. listing of luxury beachfront homes for sale or rent along the SUBSCRIBE TODAY! The directories, compiled by independent companies, gener­ coast of Cape Town. ally provide listings by category (which are updated daily).

Most also offer search "engines 'I which allow you to key in a SCRATCH PAD subject or name and get a listing of internet sites relating to http://wwwcldc.howard.edu/.... ggaliant/welcome.htmIFrom that particular sUbject. Howard University, this home page for OJ's and aspiring enter· tainers has some of the best graphics on the web. SOME OF THE BETTER DIRECTORIES ARE: TH P·FUNK DISCOGRAPHY YAHOO http:www.duke.edu/-eJa/pfunk.html http://www.yahoo.com Guess what this one is about. It's not pretty but it's a George Founded by three Stanford University students, Yahoo is Clinton and Bootsy fan's wet dream. Super comprehensive list .. the largest and most efficiently organized of the i.. net direc .. ings of where to cop bootleg P-Funk tapes and everything you tories and has a powerful and first search engine. But like wanted to, or didn't want to know about the funk. other major directories, it tends to "ghettoize " minority home pages on the net and lump them into the "Society" ONE category. http://www.clark.net/pub/conquest/one Life, art and culture .. for a new state of mind. That's the banner UNIV R AL BLACK PAGES for this insightful and intellectually stimulating alternative black http://www.gatech.edu/bgsa/blackpages.html "electronic magazine ll out of Washington, D.e Return this subscription form with your Managed by the Black Student Association of Georgia Tech, payment to Black Film R viw PO the UBP provides a large and growing compilation of links Found something interesting on the web related to film or Box 18665 Washington, D,C. 20036 to black .. oriented internet sites, listed by category and by the entertainment industry? Send us an e-mail at the month in which the site entered the registry. [email protected].

28/BLACK FILM REVIEW Lookingfor a screenwriter, a director, or a particular kind ofcamera, or that last investor that willpush yourproduction to completion? Orperhaps you offir a service filmmakers and industry people need. BFR introduces this new column to facilitate networking within the independentfilmmaking community. Please let us know what services you need or offer and we'llget the word out. Send info to: BFR Resource Exchange, PO. Box 18665, Washington, D. C., 20036

FUNDING NEEDED offering training and assistance to small minority businesses in The Creative Screenwriters Group provides free assistance for key start-up areas including: proposal writing, business plan any person wishing to join or form a writer's group in their com­ The teleplay Dreammakers, a Black Filmmakers Hall of Fame development, financing, marketing accounting and international munity. finalist screenplay, is seeking development funds. trade. The center, funded jointly by Howard University and the Interested individuals will receive information on the writ­ The film will depict 80 years of filmmaking history seen as a Small Business Administration, offers classes as well as mail-out ers' groups in their community which are seeking new members. microcosm ofAfrican American history. Also seeking agent, dis­ materials for interested business owners. Interested people should send their name, address, and telephone tributors, investors. Respond to: number along with a description of their writing interests and a For information, call the HUSBDC at 202.636.6188. SASE to: Creative Screenwriters Group, 816 E Street, N.E., Suite Deborah Ray-Sims 201, Washington, D.C. 20002, 202.543.3438. Diasporic Communications Film/Video Arts, a non-profit media arts center committed to 7975 Caceres Way the advancement of emerging media artist of diverse back­ GRANTS AVAILABLE acramento CA 95823 grounds, is offering internship opportunities. 916.395.5909 National Geographic Television is awarding two research and [email protected] For further information, contact: development grants ofup to $10,000 each to filmmaker/produc­ ers from diverse cultural backgrounds. Each grant will fund the Completion funds and distributorship needed for Strange as Film/Video Arts Geographic's Explorer. Application deadline is November 14. Angels, a romanitc comedy by Steven J. Foley. Respond to: Intern Program For application contact: Culturally Diverse Grant, National 817 Broadway, 2nd Fl. Geographic Television, 810 7th Ave., New York, NY 10019, Almost Reel Productions New York, NY 10003 212.841.4431. PO. Box 78444 212.673.9361 Atlanta, GA 30357-2444 DEADLINE: Ongoing DISTRIBUTION OPPORTUNITIES 404.875.8410 MEDIA ORGANIZATIONS MEDIAPRO, distributor of films and videos on African and Completion funds needed for a pilot program that will be part of African American cultures for educational and home markets. a 12-part series on Black women and thehir issues. Program is The National Black Programming Consortium, Inc.(NBPC), is Also seeks works on children and social/J?1inority concerns. 70% completed. Producers would like show ready for air the first a non-profit, media arts organization which supports the devel­ of the year. Respond to: opment, production and distribution of educationally and cul­ Contact: MEDIAPRO, 6202 Springhill Dr., Suite 302, turally specific television/film programs by and about Africans Greenbelt, MD 20770, tel/fax: 301.345.1852. Enclose SASE for Celeste Crenshaw and African Americans. return. 202.363.9618 NBPC houses one of the largest African American video libraries in the country (over 2,000 hours ofviewing.) Dedicated DISTRIBUTORS Paula Caffey to projects/services based on the needs, demands and expecta­ 301.585.8613 tions of the community and media industry, NBPC's various California Newsreel: 149 9th St., Suite 420, San Francisco, CA, projects include: providing technical assistance to independent 94104,415.621.6196, fx. 415.621.6522. FESTIVALS & CONTESTS producers, hosting premiers and screenings, the publishing of a The American Historical Association announces the John E. quarterly newsletter, and Prized Pieces, NBPC's annual interna­ Filmmakers Library: 124 East 40th St., New York, NY, 10016, O'Connor Film Award in honor of teacher and researched John tional video/film competition. 212.808.4980, fx. 212.808.4983. E.O'Connor of the ew Jersey Institute of Technology. The Founded in 1981, NBPC has received The Media Awareness award seeks to recognize outstanding interpretations of history Award, The Communications Excellence to Black Audience Award Films for the Humanities and Sciences: PO. Box 2053, through film or video. and the Creative Best Award of Excellence for its dedication to Princeton, NJ 08543-2053, 800.257.5126. quality and nonstereotypical African American programming. The awards committee describes "outstanding interpretation of NBPC's new initiatives include an educational outreach program, First Run Icarus: 153 Waverly Place, New York, NY, 10014, history" as containing several factors: stimulation of thought; the distribution oftheatrical releases, and the assessing ofnew tech­ 212.727.1711, fx. 212.989.7649. imaginative use of the media; effective presentation of informa­ nological equipment. For more information about NBPC, con­ tion and ideas; sensitivity to modern scholarship; and, accuracy. tact: Mabel Haddock at 614.299.5355 or write NBPC, 929 New Yorker Films: 16 West 61st St., New York, NY, 10023, Eligibility will be limited to films completed between June 1, Harrison Avenue, Suite 101, Columbus, OH, 43215-1356. 212.247.6110, fx. 212.307.7855. 1994 and May 31, 1995. COURSES/TRAINING Phoenix Films: 2349 Chaffee St., St. Louis, MO, 63146, For deadline submissions requirements contact: 314.569.0211, fx. 314.569.2834. Assistant Director Training Program: Designed to provide a basic American Historical Association knowledge of the organization and logistics ofmotion picture and Third World Newsreel: 335 West 38th Street, 5th Fl, New York, 202.544.2422. television production, including set operations, paperwork, and NY, 10018,212.947.9277, fx. 212.594.6417. the working conditions and collective bargaining agreements of BUSINESS ASSISTANCE more than twenty guild and unions. For further application and Women Make Movies: 462 Broadway, Suite 500, New York, NY requirements contact: Assistant Directors Training Program, 10013, The Howard University Small Business Development Center is 15503 Ventura Blvd., Encino, CA 91436-3140,818.556.6853. 212.925.0606, fx. 212.925.2052.

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