A Journal of African Studies
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Remembrance African Activist Archive Project Documenting
Remembrance African Activist Archive Project Documenting Apartheid: 30 Years of Filming South Africa By Peter Davis During April 2004 and beyond we were constantly reminded that this is the tenth anniversary of the first democratic all-race elections in South Africa. I was shocked by the realization that last year also marked the thirtieth anniversary of my first visit to that country, of my first experience with apartheid. After that first trip in 1974 as part of an African tour I was doing for the American NGO, Care, I was to devote a large part of my working life to the anti-apartheid struggle. For those of us who were involved in that struggle, it was such an everyday part of life that it is hard to grasp that there is already a generation out there that does not know the meaning of “apartheid”. The struggle against apartheid took many forms, from protests, strikes, sabotage, defiance, guerrilla warfare within the country to boycotts, bans, United Nations resolutions, rock concerts, and arms and money smuggling and espionage outside. Apartheid, which was institutionalized by the coming to power of the white National Party in 1948, lasted as long as it did, against the condemnation of the world, because it had powerful friends. Chief among these were the United States, which saw a South Africa governed by whites as a useful ally in the Cold War; a Britain whose ruling class had close links with South African capital; and German, French, Israeli and Taiwanese commercial interests that extended even to sales of weapons and nuclear technology to the apartheid regime. -
Lesleywalker
(3/10/21) LESLEY WALKER Editor FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “MILITARY WIVES” Peter Cattaneo 42 Rory Aitken Tempo Productions Ltd. Ben Pugh “THE MAN WHO KILLED DON Terry Gilliam Amazon Studios Mariela Besuievsky QUIXOTE” Recorded Picture Co. Amy Gilliam Gerardo Herrero Gabriele Oricchio “THE DRESSER” Richard Eyre BBC Suzan Harrison Playground Ent. Colin Callender “MOLLY MOON: THE Christopher N. Rowley Amber Ent. Lawrence Elman INCREDIBLE HYPNOTIST” Lipsync Prods. Ileen Maisel “HOLLOW CROWN: HENRY IV”Richard Eyre BBC Rupert Ryle-Hodges Neal Street Prods. Sam Mendes “I AM NASRINE” Tina Gharavi Bridge and Tunnel Prods James Richard Baille (Supervising Editor) David Raedeker “WILL” Ellen Perry Strangelove Films Mark Cooper Ellen Perry Taha Altayli “MAMMA MIA” Phyllida Lloyd Playtone Gary Goetzman Nomination: American Cinema Editors (ACE) Award Universal Pictures Tom Hanks Rita Wilson “CLOSING THE RING” Richard Attenborough Closing the Ring Ltd. Jo Gilbert “BROTHERS GRIMM” Terry Gilliam Miramax Daniel Bobker Charles Roven “TIDELAND” Terry Gilliam Capri Films Gabriella Martinelli Recorded Picture Co. Jeremy Thomas “NICHOLAS NICKLEBY” Douglas McGrath Cloud Nine Ent. S. Channing Williams Hart Sharp Entertainment John Hart MGM/United Artists Jeffery Sharp “ALL OR NOTHING” Mike Leigh Cloud Nine Entertainment Simon Channing Williams Le Studio Canal “SLEEPING DICTIONARY” Guy Jenkin Fine Line Simon Bosanquet "FEAR AND LOATHING IN Terry Gilliam Rhino Patrick Cassavetti LAS VEGAS" Stephen Nemeth "ACT WITHOUT WORDS I" Karel Reisz Parallel -
For Southern Africa SHIPPING ADDRESS: POSTAL ADDRESS: Clo HARVARD EPWORTH CHURCH P
International Defense and Aid Fund for Southern Africa SHIPPING ADDRESS: POSTAL ADDRESS: clo HARVARD EPWORTH CHURCH P. 0. Box 17 1555 MASSACHUSETfS AYE. CAMBRIDGE. MA 02138 CAMBRIDGE. MA 02138 TEL (617) 491-8343 BOARD OF TRUSTEES A LETTER FROM DONALD WOODS Willard Johnson, President Margaret Burnham Kenneth N. Carstens John B. Coburn Dear Friend, Jerry Dunfey Richard A. Falk You can save a life ~n South Africa. EXECUTIVE DIRECIDR Kenneth N. E:arstens ..:yOtl- e-an-he-l--p -ave-a h-i-l cl adul-t ~rom the herre-I"s- af a South African prison cell. ASSISTANT DIRECIDR Geoffrey B. Wisner You can do this--and much more--by supporting the SPONSORS International Defense and Aid Fund for Southern Africa--IDAF. John C. Bennett Lerone Bennett, Jr. Leonard Bernstein How do I know this? Mary F. Berry Edward W. Brooke I have seen the many ways in which IDAF defends political Robert McAfee Brown prisoners and their families in Southern Africa. Indeed, Shirley Chisholm I myself helped to deliver the vital services it provides. Dorothy Cotton Harvey Cox C. Edward Crowther You can be sure that repression in South Africa will not Ronald V. DeHums end until freedom has been won. That means more brutality Ralph E. Dodge by the South African Police--more interrogations, more torture, Gordon Fairweather more beatings, and even more deaths. Frances T. Farenthold Richard G. Hatcher Dorothy 1. Height IDAF is one of the most effective organizations now Barbara Jordan working to protect those who are imprisoned and brutally Kay Macpherson ill-treated because of their belief in a free South Africa. -
Zimbabwe News, Vol. 18, No. 9
Zimbabwe News, Vol. 18, No. 9 http://www.aluka.org/action/showMetadata?doi=10.5555/AL.SFF.DOCUMENT.nuzn198709 Use of the Aluka digital library is subject to Aluka’s Terms and Conditions, available at http://www.aluka.org/page/about/termsConditions.jsp. By using Aluka, you agree that you have read and will abide by the Terms and Conditions. Among other things, the Terms and Conditions provide that the content in the Aluka digital library is only for personal, non-commercial use by authorized users of Aluka in connection with research, scholarship, and education. The content in the Aluka digital library is subject to copyright, with the exception of certain governmental works and very old materials that may be in the public domain under applicable law. Permission must be sought from Aluka and/or the applicable copyright holder in connection with any duplication or distribution of these materials where required by applicable law. Aluka is a not-for-profit initiative dedicated to creating and preserving a digital archive of materials about and from the developing world. For more information about Aluka, please see http://www.aluka.org Zimbabwe News, Vol. 18, No. 9 Alternative title Zimbabwe News Author/Creator Zimbabwe African National Union Publisher Zimbabwe African National Union (Harare, Zimbabwe) Date 1987-09-00 Resource type Magazines (Periodicals) Language English Subject Coverage (spatial) Zimbabwe, Mozambique, South Africa, Southern Africa (region) Coverage (temporal) 1987 Source Northwestern University Libraries, L968.91005 Z711 v.18 Rights By kind permission of ZANU, the Zimbabwe African National Union Patriotic Front. Description Editorial. Address to the Central Committee by the President and First Secretary of ZANU (PF) Comrade R.G. -
Cry Freedom Essay
L.B. History Period 7 Feb. 2003 Cry Freedom; Accurate? Have you ever seen a movie based on a true story and wondered if it was truly and completely accurate? Many movies and books documenting historical lives and events have twisted plots to make the story more interesting. The movie Cry Freedom, directed by Richard Attenborough, is not one of these movies; it demonstrates apartheid in South Africa accurately through the events in the lives of both Steve Biko and Donald Woods. Cry Freedom has a direct relation to black history month, and has been an influence to me in my feelings about racism and how it is viewed and dealt with today. Cry Freedom was successful in its quest to depict Steve Biko, Donald Woods, and other important characters as they were in real life. Steve Biko was a man who believed in justice and equality for all races and cultures. The important points in his life such as his banning (1973), his famous speeches and acts to influence Africans, the trial (convicting the nine other black consciousness leaders) in which he took part, his imprisoning and ultimately his death were documented in Cry Freedom, and they were documented accurately. Steve Biko was banned by the South African Apartheid government in 1973. Biko was restricted to his home in Kings William's Town in the Eastern Cape and could only converse with one person at a time, not including his family (The History Net, African History http://africanhistory.about.com/library/biographies/blbio-stevebiko.htm). In the movie, this is shown when Biko first meets Donald Woods where he explains his banning situation. -
Notes and References
Notes and References 1 The Invisible Migrants There have, however, been several short articles on exiled and other South Africans in Britain which have appeared in journals and news papers such as Race Today, New Society, Third World, the Guardian and the Independent on Sunday (Kozonguizi, 1969; Lapping, 1969; de Gier, 1987; Cunningham, 1988). 2 Apart from the plethora of autobiographies and two Hollywood films (Cry Freedom and A World Apart), a series of interviews with South African exiles appeared in the British press: with Hugh Masekela (Johnson, 1990), Peter Hain (Keating, 1991) and articles on South Africans in Britain by Freedberg (1990), Sher (1991) and Fathers (1992) . In addition, Anthony Sher appeared in a film written by Alan Cubitt for 'Screen Play' on BBC2, The Land of Dreams (transmitted 8 August 1990), and Christopher Hope (1990) presented a Kaleido scope programme on exile for Radio Four (transmitted 16 February 1990). 3 There have, of course, been exceptions. In a book published in 1994, Robin Cohen traced the relationship between Britain and Australia, New Zealand, Canada, South Africa and Rhodesia (Cohen, 1994). 4 None of these archives have been fully catalogued. Indeed, the mate rial in the IDAF and AAM collections will not be easily accessible for several more years. 5 The choice of 75 interviews seemed a reasonable compromise between my desire to obtain detailed accounts and a series of resource and time constraints. The sample size was chosen to give me enough information to study exiles as individuals as well as enough people to be able to consider what was going on among other exile groupings. -
The Armchair Traveler Explores
The Armchair Traveler Explores Africa Location Title Description Fiction AKPAN Say You’re One of Them Nigerian-born priest Akpan transports the reader into gritty scenes of chaos and fear in his collection of five stories set in war-torn Africa. ACHEBE Things Fall Apart This novel traces the growing friction between village leaders and Europeans determined to save the heathen souls of Africa. ADICHIE Half of a Yellow Sun Through the lives of several memorable characters, this novel recreates the 1960s struggle of Biafra to establish an independent republic in Nigeria. COETZEE Disgrace In a novel set in post-apartheid South Africa, a fifty-two-year-old college professor who has lost his job for sleeping with a student tries to relate to his daughter. EGGERS What is what: the Autobiography This biographical novel traces the story of Valentino Achak Deng, who as a boy was separated from of Valentino Achak Deng his family when his village in southern Sudan was attacked. IWEALA Beasts of No Nation Recruited by a unit of guerrilla fighters after the brutal murder of his father by militants, a West African student falls under the spell of his dangerous commander. KING- The Poisonwood Bible The family of a fierce evangelical Baptist missionary unravels after they embark on a 1959 mission to SOLVER the Belgian Congo, where they find their lives transformed. MAHFOUZ Children of the Alley The story of an Egyptian family mirrors the spiritual history of humankind as a feudal lord disowns one son for diabolical pride and puts another son to the ultimate test. -
Druckversion
RESEEN Jakob Skovgaard ›TO MAKE A STATEMENT‹ The Representation of Black Consciousness in Richard Attenborough’s Cry Freedom (1987) Cry Freedom (United Kingdom, 1987), 157 min., director and producer: Richard Attenborough, screenplay: John Briley (based on books by Donald Woods), music: George Fenton/Jonas Gwangwa, camera: Ronnie Tailor, cast: Denzel Washington, Juanita Waterman, Kevin Kline et al. As one of the most viewed films on apartheid South Africa, Sir Richard Attenborough’s Oscar-nominated Cry Freedom helped push the atrocities of the apartheid system to the forefront of public attention. The screenplay was based on South African journalist Donald Woods’ autobiographical books Biko (1978) and Asking for Trouble (1981), which detail Woods’ relationship with Biko and the court trial following Biko’s death in police custody. The plot runs as follows: despite being the editor of a liberal newspaper, Woods is initially dismissive of the ideas and methods of the Black Consciousness Movement, believing that it advocates racism towards white people. He soon changes his mind, however, when he learns more about Biko’s philosophy, and the two become close Zeithistorische Forschungen/Studies in Contemporary History 13 (2016), S. 372-377 © Vandenhoeck & Ruprecht GmbH & Co. KG, Göttingen 2016 | ISSN 1612-6033 (Print), 1612-6041 (Online) ›TO MAKE A STATEMENT‹ 373 friends. Due to his function as de facto leader of the Black Consciousness Movement, Biko is harassed and put under observation by the South African authorities; half- way through the film, he is arrested and dies in police custody. The last part of the film portrays how Woods and his family plan and finally manage to escape from South Africa. -
George Fenton
GEORGE FENTON AWARDS AND NOMINATIONS INTERNATIONAL FILM MUSIC EARTH CRITICS ASSOCIATIONS AWARD (2007) Best Original Score-Documentary Feature EMMY AWARD PLANET EARTH - POLE TO POLE Outstanding Music Composition for a Series EMMY NOMINATION PRIDE Outstanding Music Composition For a Miniseries, Movie or a Special EMMY AWARD BLUE PLANET: SEAS OF LIFE Outstanding Music Composition for a Series GOLDEN GLOBE Nomination ANNA AND THE KING Best Score and Song IVOR NOVELLO AWARD Nomination Best Film Score IVOR NOVELLO Nomination EVER AFTER Best Film Score BAFTA Nomination THE MADNESS OF KING GEORGE IVOR NOVELLO Award SHADOWLANDS Best Film Score OSCAR Nomination THE FISHER KING Best Score IVOR NOVELLO Nomination FINAL ANALYSIS Best Film Score BAFTA Nomination MEMPHIS BELLE OSCAR Nomination-Best Score DANGEROUS LIAISONS BAFTA Nomination The Gorfaine/ Schwartz Agency, Inc. (818) 260-8500 1 GEORGE FENTON GOLDEN GLOBE Nomination CRY FREEDOM STANDARD Nomination BAFTA Nomination GRAMMY Nomination OSCARS Nomination-Best Score, Best Song IVOR NOVELLO Award IVOR NOVELLO Nomination THE COMPANY OF WOLVES GRAMMY Nomination GANDHI BAFTA Nomination OSCAR Nomination-Best Score IVAR NOVELLO Award Best Film Score BAFTA Award THE BLUE PLANET IVOR NOVELLO Nomination EMMY Award BEYOND THE CLOUDS BAFTA Nomination LIFE IN THE FREEZER BAFTA Nomination THE TRIALS OF LIFE BAFTA Nomination TALKING HEADS Best Original TV Music BAFTA Award THE MONOCLED MUTINEER Best Original TV Music IVOR NOVELLO Award BAFTA Nomination THE JEWEL IN THE CROWN IVOR NOVELLO Award BAFTA Award WALTER Best Original TV Music IVOR NOVELLO Nomination NO COUNTRY FOR OLD MEN BAFTA Award Best Original TV Music D& DA Award IVOR NOVELLO Nomination OMNIBOUS D & DA Award The Gorfaine/ Schwartz Agency, Inc. -
Africa's History on Screen
Introduction x VIVIAN BICKFORD-SMITH & RICHARD MENDELSOHN lack and White in Colour represents a convergence of two historiographical Bstreams: African history and ‘film and history’, the former long established, the latter of more recent origin. The academic study of African history first emerged in the last decades of European colonial rule but accelerated with the coming of independence to the former colonies as the new states sought a ‘usable past’. By the 1970s it was a well-established area of historical study, deeply embed- ded in the academy, with prestigious journals and well-attended conferences. The study of ‘film and history’ got off to a slower start. Though historians occasionally used film as a teaching aid in the classroom, there was a collec- tive scepticism about the value of film as a means of engaging with the past. Pioneering attempts in the 1970s to grapple with film’s possibilities focused primarily on its uses as evidence.1 How might film footage surviving from the past supplement other more traditional forms of evidence – the written word in particular – in broadening historical understanding? How might newsreel film, for example, complement the written record?2 This focus on film as evidence expanded to include fiction films. What might these reveal about the values and preoccupations, the mentalités, of the societies and times in which they were pro- duced?3 What might they tell us of the ideologies that shaped their production? What could we learn, for example, about Nazism from the popular cinema of the Third Reich? What did Hollywood’s science fiction films of the 1950s reveal about Cold War angst? This growing interest in film as evidence emerged against a backdrop of continuing scepticism on the part of historians at large about film, particularly fiction film, as a reliable vehicle for representing the past. -
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience. -
Black Male Icons in Spike Lee's Do the Right Thing by Lasana
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository “No Brothers on the Wall”: Black Male Icons in Spike Lee’s Do the Right Thing by Lasana Hotep A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts Approved April 2012 by the Graduate Supervisory Committee: Matthew Whitaker, Chair Thomas Davis Brooks Simpson ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Hollywood's portrayal of African American men was replete with negative stereotypes before Shelton Jackson Lee, commonly known as Spike Lee, emerged as one of the most creative and provocative filmmakers of our time. Lee has used his films to perform a corrective history of images of black men, by referencing African American male icons in his narrative works. This strategy was evident in his third feature film , Do the Right Thing (1989). Baseball great Jackie Robinson, and freedom fighters, Martin Luther King, Jr. and Malcolm X, were the black male icons featured prominently in the film. The Brooklyn-raised filmmaker's film journals, published interviews, and companion books, have provided insight into his thoughts, motivations, and inspirations, as he detailed the impact of the black male historical figures he profiles in Do the Right Thing (1989), on his life and art. Lee deployed his corrective history strategy, during the 1980s, to reintroduce African American heroes to black youth in an effort to correct media portrayals of black men as criminal and delinquent. He challenged the dominant narrative in mainstream Hollywood films, such as Cry Freedom (1987) and Mississippi Burning (1989), in which white heroes overshadowed black male icons.