Black British Film and Television

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National Library black british film and television 16 + Source Guide contents

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INFORMATION GUIDE STATEMENT ...... i BFI NATIONAL LIBRARY ...... ii ACCESSING RESEARCH MATERIALS ...... iii APPROACHES TO RESEARCH, by Samantha Bakhurst ...... iv

GENERAL REFERENCES ...... 1 FILM REFERENCES ...... 2 TELEVISION REFERENCES ...... 6 WOMEN’S PERSPCTIVES ...... 11

PERSONALITIES NORMAN BEATON ...... 12 LENNY HENRY ...... 13

CASE STUDY: PRESSURE ...... 15

DVD AVAILABILIY ...... 16

Compiled by: Nicola Clarke Andrea King Matt Ker

Design/Layout: Ian O’Sullivan Project Manager: David Sharp

INFORMATION GUIDE STATEMENT

“Candidates should note that examiners have copies of this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research sources must be credited”.

BFI National Library i BFI National Library

All the materials referred to in this guide are available for consultation at the BFI National Library. If you wish to visit the reading room of the library and do not already hold membership, you will need to take out a one-day, five-day or annual pass. Full details of access to the library and charges can be found at: www.bfi.org.uk/filmtvinfo/library

BFI National Library Reading Room Opening Hours:

Monday 10.30am - 5.30pm Tuesday 10.30am - 8.00pm Wednesday 1.00pm - 8.00pm Thursday 10.30am - 8.00pm Friday 10.30am - 5.30pm

If you are visiting the library from a distance or are planning to visit as a group, it is advisable to contact the Reading Room librarian in advance (tel. 020 7957 4824, or email [email protected]).

BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel. 020 7255 1444 www.bfi.org.uk/filmtvinfo/library

The library’s nearest underground stations are Tottenham Court Road and Goodge Street. For a map of the area please see: www.bfi.org.uk/filmtvinfo/library/visiting

BFI National Library ii Accessing Research Materials

Copies of articles

If you are unable to visit the library or would like materials referred to in this guide sent to you, the BFI Information Service can supply copies of articles via its Research Services. Research is charged at a range of hourly rates, with a minimum charge for half an hour’s research – full details of services and charges can be found at: www.bfi.org.uk/filmtvinfo/services/research.html

For queries about article copying or other research, please contact Information Services at the above address or telephone number, or post your enquiry online at: www.bfi.org.uk/filmtvinfo/services/ask

Other Sources

Your local library

Local libraries should have access to the inter-library loan system for requesting items they do not hold and they may have copies of MONTHLY FILM BULLETIN and SIGHT AND SOUND. Some recent newspaper items may be held by your local reference library. Larger libraries will hold other relevant materials and should offer internet access.

Your nearest college/university

Universities may allow access to outside students, though you may not be able to borrow books or journals. Ask your reference librarian, who should be able to assist by locating the nearest college library holding suitable material. The BFI Film and Television Handbook lists libraries with signifi- cant media collections.

Your school library

Local bookshops

Some of the books mentioned in the bibliography will be in print and your bookshop should be able to order items for you.

The British Library Newspaper Library

The Newspaper Library will have all the newspaper items referred to in this guide. Contact the library first if you wish to visit. 16+ students under the age of 18 will need to make an appointment.

The British Library Newspaper Library Colindale Avenue London NW9 5HE Tel. 020 7412 7353 Email:[email protected] www.bl.uk/collections/collect.html#newsBL

BFI National Library iii Approaches to Research by Samantha Bakhurst

Why do research?

You cannot simply rely on your existing knowledge when approaching essays in Media Studies. Although you will have some understanding of the area being explored, it is not enough to enable you to examine the area in depth. If you were asked to write about the people in your street in detail, you might have some existing information about names, faces, relationships, issues and activities but this knowledge would not offer you details such as every single one of their names, who knows who, who gets on with whom, how people earn a living, what has happened to them in the past and so on. This extra information could change your opinions quite dramatically. With- out it, therefore, your written profile would end up being quite shallow and possibly incorrect. The same is true of your understanding of media texts, issues and institutions.

Before researching any area, it is useful to be clear about what outcomes you are hoping to achieve. Research is never a waste of time, even when it doesn’t directly relate to the essay you are preparing. The information may be relevant to another area of the syllabus, be it practical work or simply a different essay. Also, the picture you are building up of how an area works will strengthen your understanding of the subject as a whole. So what outcomes are you hoping to achieve with your research?

A broad overview of the area you are researching: This includes its history, institutions, conventions and relationship to the audience. Research into these aspects offers you an understanding of how your area has developed and the influences that have shaped it.

An awareness of different debates which may exist around the area of study: There are a range of debates in many subject areas. For example, when researching audiences you will discover that there is some debate over how audiences watch television or film, ranging from the passive con- sumption of values and ideas to the use of media texts in a critical and independent way. Any discussion about censorship, for example, will be extremely shallow if you have no knowledge of these different perspectives.

Some knowledge of the work of theorists in the area: You need to demonstrate that you have read different theorists, exploring the relevant issues and investigating the area thoroughly in order to develop your own opinion based on acquired knowledge and understanding.

Information relevant to all key concept areas: You should, after research, be able to discuss all key concept areas as they relate to that specific subject area. These are the codes and conventions, representation, institutions and audience.

Types Of Research

Primary: This is first-hand research. In other words, it relies on you constructing and conducting surveys, setting up interviews with key people in the media industry or keeping a diary or log of data (known as quantitative information) on things such as, for example, what activities women are shown doing in advertisements over one week of television viewing. Unless you are equipped to conduct extensive research, have access to relevant people in the media industry or are thor- ough in the up-keep of your diary or log, this type of research can be demanding, complex and sometimes difficult to use. Having said that, if you are preparing for an extended essay, then it is exactly this type of research which, if well used, will make your work distinctive and impressive.

Secondary - printed sources: This is where you will be investigating information gathered by other people in books, newspapers, magazines, on radio and television. All of these sources are excellent for finding background information, statistics, interviews, collected research details and so on. This will form the majority of your research. Some of these will be generally available (in public libraries for example); others such as press releases and trade press may only be available through specialist libraries. BFI National Library iv Secondary - online sources: Online sources are also mainly secondary. You will need to be able to make comparisons between sources if you intend quoting online information, and to be wary of the differences between fact and opinions. Don’t necessarily assume something is a fact because someone on a website says it is. Some websites will be “official” but many will not be, so you need to think about the authority of a site when assessing the information found on it. The structure of a website address (URL) can indicate the site’s origin and status, for example, .ac or .edu indicate an academic or educational institution, .gov a government body, .org a non-profit organisation, .co or .com a commercial organisation. Websites sometimes disappear or shift location - make sure you can quote a URL reference for a site, and perhaps keep a note of the last date that you checked it.

Other Media: When considering one area of the media or one particular product or type of product, it is very important that you compare it with others which are similar. You will need to be able to refer to these comparisons in some detail so it is not enough to simply watch a film. You will need to read a little about that film, make notes, concentrate on one or two scenes which seem particularly relevant and write all of this information up so that you can refer to it when you need to.

History and development: Having an understanding of the history and development of the media text which you are researching will provide a firm foundation and context for contemporary analysis. There is a difference between generally accepted facts and how theorists use these facts.

Theory: This is the body of work of other critics of the media. Most of the books and periodical articles which you will read for research will be written by theorists who are arguing a particular viewpoint or position with regard to an issue within the media. It is this which forms the debates surrounding the study of the media, in which you, as a media student, are now becoming involved.

Using Research

Organising your research: Before rushing headlong to the local library or web search engines, the first stage of research is to plan two things. When are you able to do your research and how are you going to organise the information gathered? You may, for example, wish to make notes under the headings listed above.

Applying your research: Always return to the specific questions being asked of the text. The most obvious pitfall is to gather up all of the collected information and throw it at the page, hoping to score points for quantity. The art of good research is how you use it as part of your evidence for an analysis of the text. The knowledge you have acquired should give you the confidence to explore the text, offer your own arguments and, where appropriate, to quote references to support this.

Listing your research: It is good practice, and excellent evidence of your wider reading, to list all references to secondary research, whether mentioned within the essay or not, at the end of your work.

References are usually written in this way:

1. Len Masterman, Teaching About Television, London, Macmillan, 1980. 2. Manuel Alvarado and Bob Ferguson, “The Curriculum, Media Studies and Discursivity”, Screen, Vol.24, No.3, May-June 1983.

Other media texts referred to in detail should be listed, with relevant information such as the director, date of release or transmission, production company and, where possible, scene or episode number. Where you have compiled primary research, it is useful to offer a brief summary of this also at the end of your work.

BFI National Library v general references SURREY SOCIAL & MARKET African-Caribbeans to Britain on books RESEARCH/ BRITISH FILM INSTI- The Windrush, Bourne compiles TUTE annotated “ten best” lists in a BOURNE, Stephen The British Film Institute: Black number of categories covering the Black in the British frame: black and Asian film research. history of Black British film and people in British film and televi- London: SSMR & BFI, 2000. television drama. PRESSURE takes sion 1896-1996. best film, A HOLE IN BABYLON best London: Cassell, 1998. This current research project was TV drama. undertaken to explore use and Excellent book, readable account attitudes toward film, television of some of the landmark events and moving images amongst BLACK FILM REVIEW and noteable persons involved in African-Caribbean and South Vol.3. No.1. Winter 1986/87, pp. 12-18 Black British film & television his- Asian people of the UK. It also tory. Very useful lists in the appen- examined the relevant profession- Young, British, and Black: the dices. als’ views about the current and Sankofa Film and Video Collective, future levels of participation by by Coco Fusco ethnic minorities in the UK film ETHNIC MEDIA GROUP culture. This study was undertak- Lengthy interview with Martina Black who’s who: a who’s who of en to coincide with the bfi’s new Attille, a founder member of black achievers in Britain. Cultural Diversity Strategy. Both Sankofa alongside filmmakers London: Ethnic Media Group, 2000 documents are available through Maureen Blackwood and Isaac the bfi’s website. Julien, concentrating on the collec- Brand new title, lists persons nom- tive’s political raison d’etre. Also inated by New Nation and the includes discussion of the Sankofa Caribbean Times. Useful resource production THE PASSION OF for identifying respected commu- journal articles REMEMBRANCE. See also Fusco’s nity leaders. book of the same name listed BHM: BLACK HISTORY MONTH below. October 1999, pp. 12-13 NOBLE, Peter The negro in films. Black take on film, by Marsha London: Skelton Robinson, 1948. Prescod 16 + Source Guides: Black British Film TV & Very old, but worthy document of Quick overview of Black involve- black entertainers on stage and ment in British film and television film. Well-written, historical book from the ‘50s onwards. is worth a look for those interested in early black film. Contains biblio- graphic references and film list- * BLACK FILM BULLETIN ings for the US, Britain and the Vol.5/6 No.4/1. Winter/Spring Continent. Have a look at 1997/98, pp. 5-8 Appendix D on the controversy surrounding D.W. Griffith’s BIRTH Black in focus, by Onyekachi OF A NATION. Wambu

Informative interview with PINES, Jim and the BRITISH FILM Stephen Bourne on his research INSTITUTE methods and aims when writing Black and white in colour: black the key historical reference work people in British television since Black in the British Frame (listed 1936. above). Bourne agrees with actress British Film Institute, 1992. Carmen Munroe’s opinion that British television was more adven- The careers of Black performers turous in the 1960s than today in and filmmakers stretching back to its depiction of Black characters. the ‘30s are revealed through interviews. Featuring Norman Beaton, Horace Ove and Lenny * BLACK FILM BULLETIN Henry. Vol.5/6 No.4/1. Winter/Spring 1997/98, pp. 9-11

Windrush – the hot ten, by Stephen Bourne

To commemorate the fiftieth anniversary of the arrival of

BFI National Library 1 film references GIVANNI, June I. and the BRITISH making techniques which subvert books FILM INSTITUTE the norm of commercialism and Black film and video list. auteurism. BURTON, Alan, O’SULLIVAN, Tim London: BFI Education, 1992. and WELLS, Paul eds. Liberal Directions: Basil Dearden Already pretty dated, it’s a good MERCER, Kobena, and the INSTI- and postwar British film culture. document of what was available TUTE OF CONTEMPORARY ARTS Wiltshire: Flicks Books, 1997. up to 1992, well organised sections Black film, British cinema. and indices allow for cross refer- London: ICA, 1988. See pages 59-88 and 162-171. encing. (ICA documents 7)

Contains a chapter on Dearden’s Papers presented in the ICA’s con- films and others which engage the JULIEN, Isaac, MACCABE, Colin, ference in February 1988. “… cul- issues of race and homosexuality HALLAM, Paul, and the BRITISH tural artefacts (such as film) do during the 50’s and 60’s. SAPPHIRE FILM INSTITUTE indeed shift and transform percep- and VICTIM are looked at in depth. Diary of a young soul rebel. tions of ethnic and national identi- POOL OF LONDON is also analysed London: British Film Institute, 1991. ties.” in a chapter of the same name. Contains introductions and diaries by the filmmaker Isaac Julien and PINES, Jim, “The Cultural context GEVER, Martha, “Steve McQueen” the film’s executive producer Colin of Black British Cinema” in CHAM, in DODD, Philip & CHRISTIE, Ian MacCabe. With an interview Mbye B. ANDRADE-WATKINS, Spellbound: art and film. between Julien and the American Claire. Blackframes: critical per- London: Hayward Gallery/BFI, 1996. feminist writer bell hooks, and the spectives in black independent screenplay from the film. cinema. See pages 93-99. Cambridge, MA: Celebration of Black Cinema Inc., 1988. An interpretation of the work of MALIK, Sarita, “The cinema of video artist and 1999 Turner Prize duty? The pleasures of hybridity: Chapter about the emergence and winner, Steve McQueen. Contains Black British film of the 1980s and recognition of Black filmmaking in comparisons to Isaac Julien and 1990s” in HIGSON, Andrew’s Britain in which Pines concludes reference to Kobena Mercer’s Dissolving views: key writings on that the films of Black identity and

16 + Source Guides: Black British Film TV & analysis of Black masculinity. British cinema. culture need not be simply that of London; New York: Cassell, 1996. opposition. (Rethinking British cinema) FUSCO, Coco Young, British and black: the work An explanation of black British ROSS, Karen of Sankofa and Black Audio Film filmmaking as an answering back, Black and white media: black Collective. or cinema of duty. Malik goes on to images in popular film and televi- New York: Halliwalls/Contemporary discover the cinema of freedom sion. Arts Centre, 1988. and the individualised Black iden- Cambridge: Polity Press, 1996. tity that grew from this. See pages 33-55 An account of the work done by these two filmmaking collectives. Well-written and interesting Contains interviews with the lead- MERCER, Kobena, “Diaspora account of Black filmmaking in ing filmmakers involved. Culture and the Dialogic imagina- Britain, and the US. Ross makes tion: The aesthetics of black inde- many valid points and posits an pendent film in exhibition strategy to increase Britain” in CHAM, Black British filmmaking. Mbye B., ANDRADE- WATKINS, Claire SULICK, Sarah Blackframes: criti- Ethnic notions: towards a cinema cal perspectives in of cultural diversity. black independent London: BFI Films, 1998. cinema. Cambridge, MA: A catalogue of films in the bfi’s Celebration of Black collections, this is a publication of Cinema Inc., 1988. select films from Britain’s ethnic communities. It covers Africa, the An analysis of the US and Asia. Films and compila- unique Black iden- tions available for hire on video tity arising from are listed. British culture and some of Black Earl Cameron in Sapphire (1959) independent film-

BFI National Library 2 WAMBU, Onyekachi and ARNOLD, spans more than fifty years and event at the Cannes Film Festival Kevin has included landmark roles por- despite her Oscar nomination for A fuller picture: the commercial traying Black characters in British SECRETS AND LIES. Jean-Baptiste impact of six British films with films of the ‘50s (including POOL comments “the old men running black themes in the 1990s. OF LONDON, THE HEART WITHIN the industry […] have got to come London: Black Film Bulletin; British and SAPPHIRE). A filmography is to terms with the fact Britain is no Film Institute, 1999. listed. longer a totally white place.”

Report and interviews produced for the New Futures for Black BLACK FILMMAKER BLACK FILM BULLETIN British Film Conference held at the Vol.1. No.1. Feb/Mar 1998, pp. 7-9, 12 Vol.4. No.1. Spring 1996, p. 2 NFT on October 23rd and 24th, 1998. With box-office revenues of An interview with Julian Editorial, by June Givanni and the six films. Henriques talking about the mak- Gaylene Gould ing of Babymother, a musical financed by Channel Four and the On the closure of the bfi’s African lottery, by Menelik Shabazz & Caribbean Unit, which created journal articles the Black Film Bulletin, following a Writer-director Henriques talks government funding squeeze. BLACK FILM BULLETIN through the script’s lengthy gesta- Vol.7. No.2. Summer 1999, pp. 3-4 tion, the film’s production and some technical aspects of the film- * SIGHT AND SOUND Are black films viable products for ing process. Vol.5. No.2. February 1995, pp. 18-19 distributors? by Carol Magdalene Unwelcome; don’t try to find Contrasting responses to the above BLACK FILM BULLETIN excuses for Welcome II the question from distributors Robert Vol.5/6. No.4/1. Winter/Spring Terrordome. Although it has been Beeson of Artificial Eye and Clare 1997/98, pp. 14-17, 43 promoted as the first authentically Binns of Oasis Cinemas. Focuses independent black British film, it on the issue from a business per- Windfall films, by Helen Hughes is unimaginably bad – and also spective. politically repugnant, by Paul An overview of the lottery funding Gilroy available to British filmmakers * SIGHT AND SOUND from a Black perspective. Leading thinker Gilroy posits the Vol.8. No.9. Sept 1998, pp. 24-26 Ambiguity around the “commer- film as not only artistically inept, cial” aims of the lottery is seen by but further as “fascistic” and

16 + Source Guides: Black British Film TV & A rage in Harlesden, by Stuart Hall many as problematic when it potentially damaging to the Black comes to proper support for Black cultural environment in Britain. Hall gives an in-depth analysis of filmmakers. Includes interviews His reading identifies “evident BABYMOTHER and its roots in with representatives of the main hostility” towards Black cultures London’s dancehall scene. He sees lottery-funded consortia and and a superficial treatment of the the depiction of dancehall culture responses from key figures in the histories of slavery, apartheid and as the most successful aspect of a Black filmmaking community. the US civil rights movement. film that utilises an unusual mix of stylistic approaches. BLACK FILM BULLETIN CINEASTE Vol.5. No.2/3. Summer/Autumn 1997, Vol.XXI. No.1-2. 1995, pp. 28-31 pp. 28-30 BLACK FILM BULLETIN Vol.6. No.4. Winter 1999, p. 8 Black Nationhood and the rest in The full story, by Carl Daniels the West; an interview with Isaac A guinea a day; Stephen Bourne Julien, by Roy Grundmann remembers the Black extras of the Interview with Paul Bucknor, who 1930s and 1940s whose exploita- co-produced and initiated the con- Director Julien discusses his film tion in films promoting the British cept for THE FULL MONTY. He THE DARK SIDE OF BLACK and the Empire and Nazi Germany were explains that his original idea for world of rap music it documents crucial to their survival, by the film featured a more multicul- in terms of cultural and sexual Stephen Bourne tural group of characters. identity. Also covering his other films LOOKING FOR LANGSTON and Bourne again illuminates a “hid- YOUNG SOUL REBELS. den history” of the British film BLACK FILM BULLETIN Vol.5. No.1. Spring 1997, pp. 12-13 industry. BLACK FILM BULLETIN Helen Hughes on Jean-Baptiste Vol.1. No.1. Spring 1993, p. 11 and British Screen, by Helen BLACK FILMMAKER Hughes Vol.1. No.3. 1998, pp. 8-9 By any means necessary, by Gaylene Gould Windrush Special: a portrait of Brief report on the controversial Earl Cameron, by Linda Bellos decision by British Screen not to Brief bulletin on the methods invite actress Marianne Jean- being employed to fund WELCOME Profile of the actor whose career Baptiste to a British showcase II THE TERRORDOME, which started

BFI National Library 3 life as a 30 minute film graduation FRAMEWORK about Britain’s insidious institu- film and was developed into a fea- No.26-27. 1985, pp. 2-9 tionalised racism and vents her ture with the backing of small pri- frustration at her choice of roles vate investors rather than institu- Territories; interview with Isaac being categorised by her skin tional funding bodies. Julien, by Jim Pines colour.

Julien considers his experimental * SIGHT AND SOUND documentary TERRITORIES that THE VOICE Vol.1. No.4. August 1991, pp. 14-17 concerns itself with the problems 31 August 1998, p.21 of Black representation through Soul to soul, by Amy Taubin the channels of the (White) British Vasta’s good vibrations, by Lee media. Includes a broader debate Pinkerton Isaac Julien is interviewed about on the nature of a “British Black YOUNG SOUL REBELS and its por- film culture.” Interview with Vasta Blackman trayal of Britain in 1977. The year about his acting roles in two is seen as a pivotal point in British recent films, BABYMOTHER and cultural history, with national * MULTIRACIAL EDUCATION LOCK, STOCK AND TWO SMOKING identity foregrounded by the Vol.9. No.2. Spring 1981, pp. 3-15 BARRELS. Queen’s Silver Jubilee and the Sex Pistols’ controversial “God Save the Blacks in Films – The British Queen”, and as “the moment in Angle, by Jim Pines THE VOICE black British culture when you 14 September 1998, p.43 witnessed black style becoming a Substantial and weighty piece in social force.” Also includes analy- which Pines seeks to outline “an Ghetto gorgeous, by Lee Pinkerton sis of the sexual relationships historical account of race in British depicted in the film. films.” He looks in detail at MEN Interview with the star of BABY- OF TWO WORLDS (1946) as an MOTHER, Anjela Lauren-Smith, example of a colonial-based about the lack of a Black film * SIGHT AND SOUND drama, highlights SAPPHIRE (1959) industry in Britain. Vol.1. No.4. August 1991, pp. 17-19 and FLAME IN THE STREETS (1961) as early British-based race dramas, Threatening pleasures; how do and cites PRESSURE (1975) to exem- EVENING STANDARD the 1977 Jubilee, music, sexuality, plify drama about Black youth 7 November 1997, pp. 25 politics and pleasure come togeth- alienation. A framework is con- er in Young Soul Rebels? by Paul structed to categorise the particu- Lester does the rite thing, by Gilroy, Stuart Hall and Homi lar character types and plot con- Michael Owen

16 + Source Guides: Black British Film TV & Bhabha structions recurrent in “race” dramas. Television is also included An interview to initially publicise In discussion, the three academics within the analysis with particular actor Adrian Lester’s British film offer their insights into the cultur- reference to EMPIRE ROAD and UP ON THE ROOF but it soon goes al and political context of YOUNG 1970s broadcasters’ concerns with on to his upcoming lead role as an SOUL REBELS. Ground covered the “immigration question”. This American in Mike Nichols’s film includes the film’s narrative struc- may be of further use to the con- PRIMARY COLORS. He gives his rea- ture and characterisation as well temporary researcher looking at sons for choosing the role over as broader theoretical debate. the context and terminology of playing Othello in Sam Mendes’ these debates two decades on. production at the National Theatre (the bigger audience). Lester also SCREEN criticises novelty casting and says Vol.29. No.4. 1988, pp. 114-118 he prefers to work with directors press articles for whom colour is not an issue. Black film-making in Europe, by Maureen Blackwood and June INDEPENDENT ON SUNDAY Givanni (CULTURE SECTION) GUARDIAN 14 February 1999, p.3 15 May 1997 Survey intended to redress the American or African slant of most Young, gifted and criminally Film star’s snub is no secret, by coverage of Black filmmaking by ignored, by Andrew Gumbel Dan Glaister offering “basic source material” charting developments in Europe. Insightful interview to publicise Article detailing Marianne Jean- Includes a breakdown of four terri- Marianne Jean-Baptiste’s TV role Baptiste’s outrage at being omitted tories (West Germany, France, as Doreen Lawrence in THE MUR- from the list of young British actors invited to a Cannes celebra- Holland and Britain) with an DER OF STEPHEN LAWRENCE. It tion, despite her many award emphasis on practical conditions focuses on the fact that this is her nominations for her performance and outlets available for the dis- first major British role since in SECRETS AND LIES. All other semination of work. SECRETS AND LIES because she has invitees were White. Jean-Baptiste not been offered parts in compari- points out that she was the first son to her White counterparts Black British person to be nomi- such as Kate Winslet, and has felt nated for an Oscar and this the need to seek work in America. achievement has not been recog- In relation to her role she talks nised. BFI National Library 4 Young Soul Rebels (1991)

THE VOICE The main body of the article asks INDEPENDENT 28 May 1996, pp. 31 various Black and Asian media 23 August 1991, p.14 celebrities which ethnic film made Marianne Jean-Baptiste makes an an impression on them. Notable A murder most fair, by Adam impact in Palme D’Or winner names included are Isaac Julien, Mars-Jones Secrets and Lies, by Allister Harry Farrukh Dhondy, Hanif Kureishi, Meera Syal, Trevor McDonald and Review and critique of YOUNG Piece where the writer expresses Ngozi Onwurah herself. MY BEAU- SOUL REBELS. surprise at seeing a fully rounded TIFUL LAUNDERETTE is frequently Black character in a Mike Leigh mentioned, but Dhondy is vocifer- film. Marianne Jean-Baptiste ous in his criticism of WELCOME II NEW STATESMAN details her experience of working 16 + Source Guides: Black British Film TV & THE TERRORDOME’S cynicism. 23 August 1991, p.29-30 with Leigh both on SECRETS AND There is also a short list of essen- LIES and other projects and obvi- tial Black films, not all of them Into a rare groove, by Peter ously has a great respect for him. British but all worth investigating. Keighron She praises Leigh for being honest enough to admit to knowing noth- Interview with Isaac Julian about ing about Black culture and letting GAY TIMES YOUNG SOUL REBELS. Article con- her get on with it in his infamous August 1991, p.26-28 siders the emergence of the US style. “black pack” of filmmakers and the Putting the record straight, by spending power of Black film audi- Stephen Bourne ences. Julien compares the US GUARDIAN (SECTION 2) experience to France and Britain. 19 January 1995, pp. 12-13 Interview with Isaac Julien about . his new film YOUNG SOUL REBELS. A mirror of Britain, by Farrah Also examines his influences and Anwar the culture that formed his filmmaking agenda. Excellent piece which uses the release of WECOME II THE TERROR- DOME as a springboard for a dis- GUARDIAN cussion of Black British Cinema 22 August 1991, p.24 and the cultural impact on it’s viewers. It begins with a short Soul pirates adrift in a sea of interview with Ngozi Onwurah punk, by Derek Malcolm where she answers criticisms of exploitation but the film is given Review of YOUNG SOUL REBELS, it’s due as a landmark in British winner of the Critic’s Week Prize at Cinema regardless of it’s arguable Cannes in 1991. faults.

BFI National Library 5 television references ETHNIC RESEARCH British audience is not a segregat- books Media habits of ethnic minorities ed society and that multicultural in the UK 1992. broadcasting should hence no CINEMA CITY Northolt, Middx: Ethnic Research, longer be about making pro- Black people in British TV: soaps, 1992. grammes aimed at niche ‘minori- serials and sitcoms. ties’. This stands in contrast to Cinema City, 1988. Entirely made up of lists of tables the BBC retaining its African and statistics relating to African- Caribbean Unit. Includes quotes Publication that documents the Caribbean and Asian media use. from other producers and the festival held in Norwich during Somewhat dated, it is still a valu- director of the Institute of Race May 13-15, 1988. Contains intro- able source of raw data. Interesting Relations. ductory Articles by festival partici- views are expressed through num- pants and industry professionals bers. as well as reprinted journal refer- * BLACK MEDIA JOURNAL ences to the television programs No.1. Winter 1999, pp. 40-41 featured in the festival. GIVANNI, June Remote control: dilemmas of black The Colour of Commissioning, by intervention in British film & TV. Trevor Phillips COTTLE, Simon, and ISMOND, London: British Film Institute, 1995. Patrick Phillips relates the struggle for an Television and ethnic minorities: Report from the Black & White in independent producer, even of his producers’ perspectives: a study of Colour Conference: Prospects for status, to succeed in getting Black BBC in-house, independent and Black intervention in television, interest material commissioned by cable TV producers. held at the ICA, November 1992. broadcasters. Refers to his pro- Aldershot, Hants: Avebury, 1997. Contains papers presented. ductions WINDRUSH and BRITAIN’S SLAVE TRADE. Interviews with television producers about programming from a Black perspective. Interesting and journal articles BLACK FILM BULLETIN important differences between Vol.7. No.3. Autumn 1999, pp. 3-4 industry sectors pervade. BLACK MEDIA JOURNAL No.2. Spring 2000, pp. 62-63 Stephen Bourne looks back at his

16 + Source Guides: Black British Film TV & involvement with Black and White CUMBERBATCH, Guy, WOODS, Lights, Camera, Action! African in Colour, and wonders if the Samantha, & the INDEPENDENT Caribbean and Asian people are information the research team TELEVISION COMMISSION inadequately represented in front uncovered will ever see the light Ethnic minorities on television: a of and behind the TV cameras. So of day, by Stephen Bourne report for the ITC. what are the broadcasting compa- London: ITC, 1996. nies planning to do about it? by In addressing the under-documen- Naomi Marks tation of the history of Black peo- A study focusing on the frequency ples’ involvement in British TV, the and types of roles which ethnic Details figures for the low repre- Black and White in Colour project minorities portrayed in compari- sentation of ethnic minority resulted in a two-part documen- son to White programme partici- groups behind the cameras across tary of the same name. Bourne pants during one four week sam- all the major broadcasters. The outlines his frustration that the ple period. Tables and statistics new BBC training initiative intend- files generated by the project (sup- included. ed to help rectify the situation is ported by the bfi and the BBC) are noted, but without government still not accessible to researchers. intervention hopes of major DANIELS, Therese, GERSON, Jane, progress are not seen as high. BRITISH FILM INSTITUTE BLACK FILM BULLETIN The colour black: black images in Vol.7. No.1. Spring 1999, p. 2 British television. * BLACK MEDIA JOURNAL British Film Institute, 1989. No.1. Winter 1999, pp. 38-39 Editorial, by Carl Daniels

Dated, but it’s a good reference for Total Eclipse or More Fun? “The Commentary on a survey revealing Black British television of the ‘70s era of targeted programming is that, although the percentages of and ‘80s. A document and critique dead.” So says, Yasmin Anwar, ethnic minorities working in of shows such as THE FOSTERS, Channel Four’s commissioning broadcasting are healthy, Black KING OF THE GHETTO and EMPIRE editor for multi-cultural pro- senior managers and lead actors ROAD. grammes, by Naomi Marks are in short supply and White broadcasters are routinely being As part of a special feature on employed to cover Black issues. Black access to broadcasting, Anwar outlines the case for Channel Four’s belief that the

BFI National Library 6 * BLACK FILM BULLETIN Asante remarks on the hectic pro- cameras in Britain. Vol.7. No.1. Spring 1999, p. 23 duction schedule of the first series of BROTHERS AND SISTERS and her Greater Expectations; Stephen experiences of the industry dating * VERTIGO Bourne asks why black actors are back to her days as a child actor. No.7. Autumn 1997, p. 50 made invisible in historical dramas and adaptations of literary Black square, white square; classics when there has been a BLACK FILM BULLETIN Jacquetta May, an occasional per- black presence in Britain since the Vol.6. No.2/3. Summer/Autumn 1998, former in EastEnders, asks if the 1500s. Catherine Cookson’s pp. 6-8 nation’s favourite soap washes a Colour Blind was a paltry excep- little too white… tion, by Stephen Bourne The new multiculturalism, Yasmin Anwar in interview with Sarita Jacquetta May – a member of Addresses the evident reluctance Malik Albert Square’s Tavernier family in to cast Black actors in historical the early ‘90s – takes EASTENDERS drama, with reference to Black Anwar lays out her plans for producer Julia Smith’s comment theatre actors of previous cen- Channel Four’s Multicultural that “I hope people won’t even turies. Department on her appointment realise [some new characters to as its commissioning editor. the soap] are Bengalis” as sympto- matic of the soap’s shortcomings BLACK FILM BULLETIN in addressing cultural differences Vol.6. No.4. Winter 1999, pp. 18-19 BLACK FILM BULLETIN and racism. Vol.6. No.2/3. Summer/Autumn 1998, Brothers and Sisters; soap, sex, pp. 34-37 drugs and more sex, by Carol BLACK FILM BULLETIN Magdalene At last the right stuff; Carl Daniels Vol.4. No.3. Autumn 1996, pp. 5-8 looks at Channel 4’s black pro- Critical review of the drama soap gramme extravaganza, The Ba Ba Reporting Black, Patrick Younge in that, in a broadcasting environ- Zee, by Carl Daniels interview with Onyekachi Wambu ment short on Black drama, relied heavily upon sensationalism and Channel Four’s season, billed as “a Younge (now multicultural com- sex. celebration and reflection of black missioning editor at Channel Four) life and culture around the world”, talks about his role in the develop- is compared to BBC’s A-FORCE. ment of the successful BBC cur- BLACK FILM BULLETIN Includes reviews and brief credit rent affairs series BLACK BRITAIN. Vol.6. No.2/3. Summer/Autumn 1998, details for titles shown.

16 + Source Guides: Black British Film TV & pp. 6-8 BLACK FILM BULLETIN Nurturing the talent: breaking the * TELEVISION Vol.4. No.3. Winter 1996, pp.13-14 mould. Amma Asante: Vol.35. No.6. August/September 1998, writer/producer of Brothers and pp. 18—25 The perennial search for identity, Sisters converses with Magdalen Yasmin Anwar and Sarita Malik Carol Are there colour bars in a digital universe? Trevor Phillips, giving Two views on the thorny issue of the RTS whether there is a need for spe- Fleming cialist ethnic broadcasting units, Lecture, prompted by the disbanding of the offers a BBC’s Multicultural Programmes penetrating Department. analysis of British television’s BROADCAST response, 31 March 1995, p. 21 past and future, to a Trix and treats; from mould- multiracial breaking sitcom Desmond’s to society, by multi-million-dollar Hollywood Trevor movies, Trix Worrell has proved Phillips minorities have mass-market appeal, by Andy Fry Phillips broad-rang- Interview covering writer and pro- ing lecture ducer Worrell’s career from his encompass- days at the National Film and es the social Television School, with brief context of accompanying CV. Black representation on screen and Love Thy Neighbour - ITV 1972-1976 behind the

BFI National Library 7 IMPACT TIMES THE VOICE No.2. January 1992, pp. 26-27 21 June 1995, p. 23 2 July 1991, p. 4

Multiculture Clash; has Channel Does television paint Britain too McCoy: the real thing? by Deborah 4’s multicultural policy passed its white? by Alexandra Frean Ward sell by date? by Alkarim Jivani Discussion about whether there Piece assessing the self-confessed Charts the history of specialist are enough Black programmes and patchy quality of the first series of multicultural programming and faces on British television. Farrukh THE REAL MCCOY. It is acknowl- questions its continued relevance. Dhondy argues that there is too edged as a good showcase for much sub-standard material Black comedy talent but the already on our screens because of humour is seen as juvenile. The * THE STAGE and TELEVISION White liberal guilt, while TV pro- producer Charlie Hanson defends TODAY ducer Charlie Hanson argues that this by admitting that the produc- 2 December 1982, p. 18 there is not nearly enough to serve tion was rushed to secure the inter-racial understanding. It is show’s peak time slot and that the The case for and against providing hardly an accident that Dhondy is second series would have time to programming for minorities, Asian while Hanson is White. rectify the shortcomings. Articles by Chris Dunkley and Jane Trevor Phillips believes that the Hewland answer lies somewhere in the middle. TIME OUT Financial Times TV critic Dunkley’s 8 May 1991, pp. 14-15 notorious piece arguing that the contemporary move towards tar- THE VOICE (NOW) Black box, by Alkarim Jivani geted programming for ‘minority’ 11 August 1992, p. 23 groups represents “a new fascism” A critique of THE REAL MCCOY that is reprinted here. It is accompa- Terry in charge, by Deirdre Forbes compares it to its American coun- nied by a response from Jane terpart IN LIVING COLOR. Lenny Hewland of LWT, the company Article detailing the changeover to Henry comments that home- who pioneered this type of broad- a Black director, Terry Jervis, for grown Black talent is ignored but it casting in Britain. the second series of comedy should also open itself up to sketch show THE REAL MCCOY. He mixed audiences. There is a run- argues that in a show of this down of the show’s origins (Lenny nature Black people in the produc- Henry’s workshop for upcoming press articles tion team have the best under- Black comedy writers, the need of standing of what is needed to keep the BBC to repair its poor track

16 + Source Guides: Black British Film TV & OBSERVER (‘SCREEN’ SECTION) it relevant to the Black community. record for multicultural light 19 September 1999, pp. 8-9 entertainment). The general opinion of the show is positive but Joking apart, by Michael Collins GUARDIAN there is a criticism that it lacks the 24 October 1991, p. 38 confidence to satirise Black icons Article on the burgeoning career of unlike IN LIVING COLOR which had Richard Blackwood as Channel Changing the picture, by Val been very successful in this Four’s THE RICHARD BLACKWOOD Sampson respect. SHOW is launched. Blackwood rejects the term “urban entertain- As DESMOND’S reaches it’s four ment” to describe the show, calling million viewing peak, this article SUNDAY TIMES it instead “a show for everyone”. covers the handing over of the 29 October 1989, p. C5 His career is charted via his time baton from Trix Worrell to a new at MTV and the influence on his writing team including three Black Crucial step for black comedy, by stand-up work of Black US come- women from different generations Patrick Stoddart dians is discussed. and backgrounds. During the course of the interview the Article publicising Lenny Henry’s Tavernier family in EASTENDERS initiative for new Black comedy EVENING STANDARD come in for severe criticism from writers with the backing of the 9 September 1999, p. 32 the female writers for being so BBC, ‘A Step Forward’. Trix Worrell inoffensively bland that their pres- comments that Black writers can The comic with a supermodel for ence is pointless, they are the write about things other than a stepsister, by Syrie Johnson ‘token Black family’. While Black culture and the writer makes DESMOND’S producer Humphrey a salient point at the end that Interview with Richard Blackwood Barclay argues that the viewing because of the dearth of Black covering his relationship with figures for the show could triple if British comedy performers they stepsister Naomi Campbell, his it was given a peak time slot on a will mainly be writing for White Channel Four show and his further major channel and cites the suc- performers. ambitions to succeed as a comic cess of THE FOSTERS as an exam- actor in Hollywood. ple. All four dislike the idea of positive discrimination and want Black programmes made on merit.

BFI National Library 8 GUARDIAN VOICE Dhondy before his Channel 4 5 January 1989, p. 24 19 July 1986, p. 28 appointment which covers all the bases of the issue that is Black TV. Lighter shades of black, by Anne Playing Away, by Tony Sewell It gives biographical details Caborn (Dhondy’s Black Panther member- PLAYING AWAY is described by its ship), writing credits (NO PROBLEM, Piece examining the dearth of producer Brian Skilton as “the popular forerunner of DESMOND’S) Black sit-coms on British TV as biggest film commissioned by and his controversial views on sev- DESMOND’S premieres on Channel Channel Four and […] perhaps the eral race and media topics. He 4. Past examples (good and bad) best black film to come out of argues that White writers don’t are briefly mentioned. Farrukh England to date.” Alongside a brief have the intimacy to create realis- Dhondy, the channel’s commis- account of the film, there are tic Black characters, reveals the sioning editor for multicultural quotes from director Horace Ove still prevalent tokenism in media programmes, attempts to find rea- and star Norman Beaton. circles, and criticises TV executive sons for this sad situation admit- Trevor Phillips for being afraid to ting that there is a basic lack of take creative risks. good scripts but also blaming pro- TODAY gramme makers’ reluctance to risk 1 May 1986, p. 24 offending audiences, a view sup- GUARDIAN ported by the show’s star, Norman No banner waving in the ghetto, 21 August 1979 Beaton. Beaton and the show’s by Terry Baddoo writer Trix Worrell compare the A hard look without the soft soap, different purposes of THE FOSTERS In this article Farrukh Dhondy by Mike Phillips and DESMOND’S, while the former defends himself against charges of introduced the Black community stereotyping Blacks and Asians in An article examining the second to the mainstream audience, the his TV projects by arguing that series of EMPIRE ROAD. It covers latter uses humour to examine the these programmes need only to be much the same ground as the ear- tensions within the community, entertaining not representational, lier New Society piece (see below) especially between the genera- and that British audiences are but is worth a look as it praises tions. Worrell is convinced that sophisticated enough to under- the increased sophistication of the DESMOND’S is only the beginning. stand that. He also explains the show, both in the quality of the axing of programmes BLACK ON writing and the acting. There are BLACK and EASTERN EYE, saying also comments from the producer NEW YORK TIMES their formats were being stretched and one of the three new direc- 13 March 1987, p. 19 to cover too many TV genres. tors, a certain Horace Ove.

16 + Source Guides: Black British Film TV & PLAYING AWAY, A Comedy, by Vincent Canby GUARDIAN NEW SOCIETY 13 January 1984 16 November 1978 PLAYING AWAY, directed by Horace Ove, is seen as following in the A corner in the black market, by Taking race for granted, by tradition of British social comedies Colin Shearman Margaret Walters in its depiction of the culture clash at a cricket match between a rural Excellent interview with Farrukh Excellent insightful essay about Suffolk village and a team from Brixton. The reviewer feels that although the film “offers few sur- prises,” it is well crafted and excel- lently acted.

VARIETY 23 July 1986, p. 33

Ove’s ‘Playing Away’ Addresses Britain’s West Indian Communities, by Jeremy Coopman

Brief piece from US trade paper on the cricket-themed PLAYING AWAY which notes that the film was fully funded by Film Four International who only offer partial funding to most projects. The film’s producer expects it to go down well in cricket-playing territories, but hopes it may also pick up a US audience.

The Fosters - ITV 1976-1977 BFI National Library 9 the cultural impact of EMPIRE OBSERVER ROAD. It examines the show’s soap 11 April 1976 opera/sitcom roots and it’s origin in a much darker, single play The Fosters, by Penny Toynbee called BLACK CHRISTMAS. It is argued that in EMPIRE ROAD race is Negative review that accuses the not treated as an issue, and there- show of being patronising, a sub- fore a problem, the characters are standard sitcom fobbed off onto allowed to be three-dimensional. talented Black actors to make Illustrating this point, praise is Black people palatable to White given to Norman Beaton’s lead audiences. performance which is initially comedic and larger than life but gradually becomes something DAILY MAIL much more subtle and complex as 10 April 1976 the series progresses. Frosty welcome for Fosters

DAILY MAIL The critical reaction from Black 28 October 1978 community leaders to the first episode of THE FOSTERS. The The race is on! by Mike Phillips majority conclusion seems to be that the show was “insulting, Essay from Guyanese journalist cheap and stereotyped” but there that argues that the series EMPIRE is a warm reception from an ‘ordi- ROAD presents the truth about nary’ West Indian family who tell a immigrant life. Shows such as Daily Mail Reporter that “it’s just LOVE THY NEIGHBOUR are dislike us”. missed as presenting a fantasy view about the relationship between Blacks and Whites, while GUARDIAN EMPIRE ROAD explores relation- 9 April 1976 ships within the community, especially the different expectations Black comedy, by Carol Dix and aspirations of first and second generation immigrants. Special Preview from the set of THE FOS-

16 + Source Guides: Black British Film TV & mention is given to Norman TERS that premiered on British tel- Beaton whose performance in the evision that night. The piece lead role is said to have the uni- emphasises that under it’s cosy versal appeal of the Ena Sharples exterior the show has a ‘message’, character in CORONATION STREET! that Black people are just people too, rather than just being defined by their colour. But the writer has FINANCIAL TIMES to acknowledge that the set crew 21 April 1976 are all White and that the scripts are actually anglicised versions of THE FOSTERS, by Chris Dunkley a Black American series GOOD TIMES, making the humour not Critique of negative Black reaction specific to the Black British experi- to the all-Black comedy series ence. The director defends this by using the same quotes from com- saying that a Black writer is being munity leaders gathered in the drafted in to adapt the scripts. earlier Daily Mail article. The There is also a spirited defence of writer seems to be asking why LOVE THY NEIGHBOUR by Norman Blacks should escape the crass Beaton, he argues that it generated stereotyping that other social work for black actors and was groups fall prey to in British come- nearer to the truth of British race dy. He argues that the show’s main relations than liberals liked to crime is just not being funny. admit. Interesting points, though there could be a hidden agenda here.

BFI National Library 10 women’s perspectives

* BLACK FILMMAKER books journal articles Vol.1. No.2. 1998, p. 12

FOSTER, Gwendolyn Audrey BLACK FILM BULLETIN Secrecy and Lies; Stephen Bourne Women film directors: an interna- Vol.6. No.2/3. Summer/Autumn 1998, looks at the ‘secret’ history of tional bio-critical dictionary. pp. 9-10 black women in British cinema, by Westport, CT; London: Greenwood Stephen Bourne Press, 1995. Staying power, by Stephen Bourne

Contains entries on Black British Interview with character actress Bourne decries the quality of roles women filmmakers including Corinne Skinner-Carter whose currently on offer to Britain’s lead- Martine Attile, Maureen Blackwood credits include EMPIRE ROAD, ing Black actresses in a short but and Ngozi Onwurah. PRESSURE, BURNING AN ILLUSION apposite piece. and BABYMOTHER.

FOSTER, Gwendolyn Audrey BLACK FILM BULLETIN Women filmmakers of the African BLACK FILM BULLETIN Vol.2. No.2. Summer 1994, pp. 17-18 and Asian diaspora: decolonizing Vol.6. No.2/3. Summer/Autumn 1998, the gaze, locating subjectivity. pp. 20-21 A tale of transitions, by Lincoln Carbondale, IL; Edwardsville, IL: Pettaway Southern Illinois University Press, Baby Mothers; babies, mothers, 1997. fathers and the dancehall, by Interview with Ngozi Onwurah, Leone Ross director of WELCOME II THE TER- See pages 24-42. RORDOME, in which she discusses Review of BABYMOTHER focusing the mixed race themes that recur With a chapter on Ngozi Onwurah, on the film’s depiction of female in her work and what messages the first British Black female film- roles within the dancehall scene. her work may signal to audiences. maker of a feature film (WELCOME II THE TERRORDOME, 1994). BLACK FILM BULLETIN BLACK FILM BULLETIN Vol.6. No.2/3. Summer/Autumn 1998, Vol.1. No.3/4. Autumn/Winter 1993, YOUNG, Lola pp. 22-23 p. 26

16 + Source Guides: Black British Film TV & Fear of the dark: “race”, gender Home from home, (uncredited) and sexuality in the cinema. The Girl With Brains In Her Feet, London; New York: Routledge, 1996. by Adeola Folarin Maureen Blackwood is interviewed on her work and her position as A closer look at the role Black Review of film whose protagonist one of the few Black female direc- women play in films. Young analy- is an athletic teenager of mixed tors in Britain. ses cultural themes and historical race growing up in Leicester in the contexts in relation to the roles in ‘70s. which Black women are cast, and BLACK FILM REVIEW looks at the need for more screen- Vol.5/6. No.4/1. 1990, pp. 22-24 time for black women actors. Perfect Image, by Elizabeth Jackson

Maureen Blackwood is questioned on her formative career and her film PERFECT IMAGE, on the occa- sion of the film being awarded Best Black Independent Film for 1989 by the Black Filmmakers Hall of Fame in California.

press articles

INDEPENDENT 19 January 1995, pp. 25

Cinema these days – it’s a riot, by Kevin Jackson

Tough but fair review, praising WELCOME II THE TERRORDOME’s Welcome II The Terrordome (1995) technical and entrepreneurial

BFI National Library 11 inventiveness, but criticising the quality of the acting and screenplay. focus on personalities

TIME OUT Norman Beaton press articles 18-25 January 1995, pp. 61

Future tense, by Tom Charity THE VOICE book 30 January 1996, p. 35 Ngozi Onwurah is interviewed as Norman’s conquests, by Allister WELCOME II THE TERRODOME is BEATON, Norman Harry finally released three years after Beaton but unbowed: an autobiog- its conception. She talks again raphy. Preview of a tribute by Stephen about the long drawn out shoot London: Methuen, 1986. Bourne to Beaton’s television that took up the previous three career as part of the ‘Black on years and the independent financ- From Guyanan Calypso champion White TV’ retrospective at the ing from small investors within of 1956 to British film and televi- National Film Theatre in February the Black community. Onwurah sion personality, this is Norman’s 1996. The article argues that also talks about a controversial version of his life and times. Beaton was pigeonholed in scene where a pregnant White comedic roles and the tribute woman is attacked by White thugs highlights his wide range of dra- and miscarries her mixed race matic work. There are comments child and defends it by explaining journal articles from Jim Pines and filmmaker it actually happened to a friend of John Akomfrah on the presence (or hers. Finally Onwurah defends the TV TIMES not) of Black drama on British TV. extremity of the attitudes 29 April 1989, p. 14 expressed in WELCOME II THE TER- RODOME by arguing that the film is On the Beaton track, by Ian Cotton THE VOICE a warning of how bad race rela- 16 January 1996, p. 5 tions could get in Britain, not a call Beaton talks about coming to for separatism. Britain from Guyana and his time as a school teacher in Liverpool. Beaton’s dying wish proves futile, by Helen William THE VOICE Article about the threat to an 13 April 1993, p. 24 TIME OUT 17 December 1986, p. 43 award, founded by Beaton to 16 + Source Guides: Black British Film TV & recognise the achievements of We’re doing it our way The Beaton track, by Jane Black performers, due to lack of funds. The event had previously Interview with the filmmakers on Edwardes been sponsored by Channel 4 at the set of WELCOME II THE TER- the Birmingham International Film RODOME focusing on the guerilla Tracks the unusual byroads and and Television Festival and had technique they used for financing financial mishaps of Beaton’s life been won by Michael Abensetts, the film which consisted of shoot- and career. the writer of EMPIRE ROAD, and the ing the film when money came in actor Saeed Jaffrey. and temporarily closing down the set when it ran out. It was the TIME OUT largest single fund-raising project 2 October 1981, p. 23 THE VOICE by the Black British community at 10 January 1995 the time. Onwurah emphasises the Triumph and disaster, by Naseem commerciality of the film (citing Khan Rebel with a cause, by Imruh the soundtrack) and reveals the Bakari real life events that inspired it. On the contradiction between Beaton’s acclaimed acting career and accounts of his checkered per- Piece discussing Beaton’s career in the context of the ‘tragedy’ of his THE VOICE sonal life. life and death, hours after return- 9 June 1992, p. 25 ing to Guyana. It criticises the quality of the last series of Runaway success, by Leone Ross * TIME OUT 27 October 1978, pp. 14-15 DESMOND’S, stating it had become a mass of stereotypical clichés but Interview with WELCOME II THE praises Beaton’s talent, dedication TERRODOME’s director Ngozi Empire Road: the series… the and success. It then goes on to Onwurah that concentrates on her writer… the star, by John Wvyer contend that Beaton’s large ego production company Non-Aligned and Mike Philips was probably his own worst and its body of work. Onwurah is enemy in dealing with how he was scathing about the representation Details the background to the perceived by the arts establish- of Black women in Black films and groundbreaking EMPIRE ROAD and ment. argues that they have to make its Birmingham setting, with pro- films for themselves to redress the files of Beaton and Michael balance. Abbensetts, the writer the series.

BFI National Library 12 DAILY EXPRESS 3 November 1977

B’wana, it’s so lonely up here, by Victor Davis

Dubiously titled interview with Norman Beaton around the time of his success with THE FOSTERS where he talks about the pressure of his responsibility as a Black role model, both as a father figure and as “Britain’s only Black TV headlin- er”. He also complains about the dearth of Black roles in British films and TV.

Lenny Henry Norman Beaton (right) in Desmond’s - Channel Four 1989-1994 book THE VOICE THE VOICE 20 December 1994, p. 4 9 June 1992, pp. 15-16 MARGOLIS, Jonathan, & HENRY, Lenny Beaton died surrounded by loved Beaton the retreat? by Ron Lenny Henry: a biography. ones Shillingford London: Orion, 1995.

Article relating the events sur- Beaton talks about the popularity From his humble beginnings doing rounding Beaton’s death, mainly and cultural integrity of impersonations for his mates in notable for eloquent tributes from DESMOND’S but is surprisingly crit- his hometown of Dudley, Lenny his co-star Carmen Munroe, Trix ical about THE FOSTERS citing the Henry went on to entertain both Worrell, the creator of DESMOND’S, scripts as “not relevant to British mainstream and alternative come- and Farrukh Dhondy, Channel 4’s Blacks”. He also discusses his rea- dy circuit audiences before hosting commissioning editor for multicul- sons for wanting to live in Jamaica COMIC RELIEF and starting his own 16 + Source Guides: Black British Film TV & tural programmes, amongst oth- rather than his home country television production company, ers. Guyana (interesting in the light of Crucial Films. the fact that he actually died in Guyana). Beaton also mentions the DAILY TELEGRAPH origins of his first acting role in a journal articles 15 December 1994, p. 21 musical he wrote called SIT DOWN GUARDIAN (Section 2) BANNA, apparently Kenny Lynch 15 December 1994, p. 17 turned down the role of a pimp * BLACK FILM BULLETIN INDEPENDENT because he thought it wouldn’t be Vol.2. No.2. Summer 1994, pp. 15-16 15 December 1994, p. 16 good for his career! License dramatic, by June Givanni TIMES 15 December 1994, p. 21 INDEPENDENT ON SUNDAY Interview with Henry about the (REVIEW) work of his production company Four obituaries from the broad- 15 July 1990, p. 17 Crucial Films and their role in cre- sheets that together provide an ating Black drama, particularly excellent, detailed commentary on Lynne Truss on Norman Beaton… short films. Beaton’s life and career. Interesting titbits include his Variety Club Best An interview to publicise a play Film Actor award for BLACK JOY, which Beaton was appearing in at PREMIERE (USA) his role in the creation of the Black the time about a Trinidadian Vol.4. No.12. August 1991, pp. 32-35 Theatre of Brixton, a touching trib- schoolteacher. He compares the ute from Humphrey Barclay, the subject matter of the play to his White like me, by Ralph Rugoff producer of EMPIRE ROAD and his own educational background, both stint as a regional presenter at the as a teacher himself and as a stu- Article on Henry’s Hollywood BBC. dent, and talks about the impor- debut TRUE IDENTITY, in which his tance placed on educational character plays half of the film attainment by West Indian com- disguised as a white man. munities. The interviewer also contrasts Beaton’s gregarious per- sona (and his past criminal convic- tions) with the perceived expecta- tion of his behaviour as Britain’s senior Black actor. BFI National Library 13 EMPIRE Henry’s career, examining his tal- EVENING STANDARD No.18. December 1990, pp. 49-50 ent for artistic re-invention. The 2 October 1987, p. 14 writer seems to be constantly Lenny Henry, by Philip Thomas questioning Henry’s motives and Lenny Henry shows the way for concludes that we are yet to see Britons, by Steve Clarke Brief interview in which Henry dis- the real Lenny Henry. It returns to cusses racism and his introduction the old theme of Henry’s ambiva- Article publicising the formation of to the working methods of lence about the representation of Henry’s production company, due Hollywood. Black people (citing the differences to his frustration at the lack of between his stand up act and his decent acting parts offered to him. latest role in the TV show CHEF), He criticises the trend for Black and Henry states that it’s deliber- American actors to be cast in press articles ate on his part ‘to shake things British roles because they are up’. The writer doesn’t seem to more bankable. In contrast there is INDEPENDENT think that this approach is work- also a brief mention of an art- 19 January 1994, p. 23 ing for his audience. house movie he appeared in called THE SUICIDE CLUB which pre- Lenny gets down to some serious miered at the London Film Festival stuff, by Steve Clarke GUARDIAN (WEEKEND) that year. 29 July 1989, pp. 19-20 A detailed profile of Henry’s production company Crucial Films Stand up the real Mr Henry, by NEW MUSICAL EXPRESS and its past and ongoing projects David Newnham 17 July 1982, pp. 15-17 (including the drama series FUNKY BLACK SHORTS that Henry wrote Henry talks about the tightrope he Come out fighting Lenny Henry, an episode of). It emphasises the walks between ensuring that his by Lloyd Bradley Black perspective of much of it’s material is politically correct but is output and Henry is keen to point still funny. He admits that meeting In-depth interview with Henry and out that the Black community is his wife, Dawn French, and her critique of his impact on the Black very diverse, but also that the Comic strip colleagues was a cata- British community, particularly company is not a ghetto for Black lyst for his own social awareness young people. Henry talks about issues. but primarily his material has to how his first gig in front of an all- satisfy him. He also compares Black audience made him radically British and American television’s rethink his material, after his pri- GUARDIAN exposure of Black people (with mary experiences with mainly 8 November 1993, pp. 9-10 examples) and argues that positive White cabaret audiences. It is clear

16 + Source Guides: Black British Film TV & discrimination only works up to a he is very much seen as a torch- The boy with the black stuff, by point. bearer for Black British comedy Dave Hill and he regards his characters as social commentators. Henry A month after the previous article, NEW MUSICAL EXPRESS argues that there are so few Black this critique of Henry’s career to 19 December 1987, pp. 28-29, 77 British comedians because young date is rather more even-handed. Black people think it’s uncool to It obviously covers much of the Totally crucial, by Paolo Hewitt laugh at themselves in public, but same ground as the Independent would gladly welcome the compe- on Sunday piece but praises Henry Another NME interview with tition. for evolving and maintaining his Henry talking about his work for popularity through the changing Comic Relief, his politicisation and cultural climate of the previous the social issues covered by his twenty years. We find out that two character Delbert Wilkins. Henry of his main influences are Richard uses the example of the BBC to Pryor and Bill Cosby, two artists bemoan the lack of Black people in seemingly at opposing ends of the the entertainment industry and Lenny Henry comedic spectrum, and the writer admits that Delbert Wilkins may argues that Henry’s lack of anger have lost some of his satirical edge doesn’t necessarily make his work but this was being worked on, and bland or indifferent, at least he is the character was still popular willing to take risks. The writer with the Black community. The concludes that all of Henry’s cre- writer obviously has mixed feel- ative experiments are genuine and ings about Henry, describing his valid. work as hit and miss and implying that it sits on the fence politically.

INDEPENDENT ON SUNDAY 10 October 1993, pp. 5-6, 8

Do the right thing, by Zoe Heller

Rather unsympathetic but in- depth interview and critique of

BFI National Library 14 SUNDAY TIMES 7 February 1982 CASE STUDY: Pressure (Dir. Horace Ové, 1975) as being based on two things: the One man’s brand of black comedy, struggle of a family leaving the by Gordon Burn West Indies to start a new life in Britain and the struggle of the first Intelligent critique of Henry’s books generation of children born in brand of humour, analysing his Britain to West Indian parents. ambivalence towards his material PINES, Jim, and the BRITISH FILM and his audience, in relation to the INSTITUTE EDUCATION DEPART- Joshua Yarlong character. It covers MENT MONTHLY FILM BULLETIN his experience of playing to main- Representation and blacks in Vol.54. No.647. December 1987, pp. ly white audiences and his inten- British cinema. 361, 384 tion to change that. The piece also London: BFI Education, 1991. concedes that Charlie Williams, (BFI Education: Advisory Document Going to meet the man, by Sylvia famous for telling jokes about his pack) Paskin colour, was Henry’s only role model when he broke onto the An analysis of a few of the more Brief piece in which Ové refers to national scene in NEW FACES, sev- important films in Black British his work within the context of eral years earlier. cinema and how these films differ racism in Britain. Includes filmog- from what was being produced in raphy and short biographical America at the same time. notes. DAILY MAIL Contains a brief analysis of Horace 9 May 1981 Ove’s film PRESSURE. FILM (BFFS) Young Rubber Face…, by Charles Vol.2. No.64. August 1978, p. 6 Catchpole RUGG, Akua Brickbats and bouquets: black Horace Ové, by Clive Hodgson Early interview with a naïve Lenny woman’s critique, literature, the- Henry where he states that he just atre, film. Ové talks about a number of his wants to be seen as a “British London: Race Today Publications, films. comedian who happens to be 1984. Black” and has nothing to say about the race issue. He claims his An interesting document of Black MONTHLY FILM BULLETIN jokes about colour are “anti-me presence on stage, in film and lit- Vol.45. No.531. April 1978, p. 68 not anti-race”. erature, and on television during

16 + Source Guides: Black British Film TV & the ‘70s and early ‘80s. Mostly Pressure, by David Wilson written in review by a contributor to Race Today, it is a dated but use- Credits, synopsis and review of the ful document of the Black British film on its UK release. Wilson cultural renaissance. Contains notes that PRESSURE’s “achieve- commentary on Horace Ove’s ment is to have so persuasively PRESSURE. incorporated within its narrative format a set of options which suc- cinctly characterise the position of journal articles blacks in Britain.”

BLACK FILMMAKER LISTENER Vol.1.No.4. December 1998, pp. 12-13 2 March 1978, p. 280

Horace Ové; living with Pressure, The Grove Family, by Gavin Millar by Imruh Bakari Review of PRESSURE. The director of PRESSURE, recog- nised as the first British feature film made by a Black director, talks TIME OUT about the constrictions of working 17 February 1978, p. 10 in Britain and his subsequent work in the Caribbean. Ultimate Pressures, by Paul Taylor

Taylor dissects the reasons behind * BLACK FILM BULLETIN the often commented-upon delay Vol.4. No.2. Summer 1996, pp. 16-21 between the film’s production and its release, defending the BFI Horace Ové; reflection on a thirty against charges of suppressing the year experience, by June Givanni film and of incompetence.

Ové talks at length about his life and career. He refers to PRESSURE

BFI National Library 15 SUNDAY TIMES many of the complaints of the ear- press articles 19 February 1978 lier Sunday Times piece (see below) and then goes on to relate THE LEVELLER Alan Brien the final resolution (PRESSURE’s No.20. November 1978, pp. 31-33 producer Robert Buckler handling Another good review heralding the the changeover of distribution Camera wrangles: Horace Ove film as the first of a British New rights himself). Wave, regardless of it’s colour bias. Extensive interview with It focuses on the Britishness of the PRESSURE’s director from an inde- film’s young, Black lead character DAILY MAIL pendent filmmaking angle. It cov- and the cross-tensions portrayed 4 September 1976 ers his early life including his neg- within the Black community, and ative experience of trying to get a then goes on to echo Derek Unseen film, by Horace Ove and job at the BBC, a rundown of his Malcolm’s appraisal (see below) of Robert Buckler projects up to, including, and after the non-judgemental portrayal of PRESSURE and his version of the the white working class charac- In the wake of the Notting Hill film’s problems at the BFI. Ove also ters. riots, a letter to the Mail from the talks in general about his experi- film’s director and producer criti- ences as a Black filmmaker, (how cising the bfi’s failure to properly he struggles with others’ percep- GUARDIAN distribute PRESSURE so that it tions of the subjects he can cover) 16 February 1978 could reach it’s intended audience, and the lack of encouragement in the general public. Political rea- Britain at that time for Black cre- Derek Malcolm sons are suggested though the ativity. filmmakers insist that the film Very positive review stressing the does not take sides but just charts significance of the film both to the the causes of racial conflict. SPECTATOR bfi, and British cinema in general 4 March 1978 as Britain’s first Black feature film. PRESSURE is praised for its timeli- SUNDAY TIMES Clancy Sigal ness, technical polish and per- 18 July 1976 formances by its mixture of pro- An article by an American writer fessional and amateur actors. Pressure point, by Philip Oakes that uses a review of the film as a Malcolm also takes on board the springboard for a brief discussion filmmakers’ thesis that both Article detailing the organisational on the lack of recognition of Black Blacks and Whites are exploited in mishandling of the film’s distribu- Britishness he had noticed in this British society and finds it believ- tion by the BFI after having

16 + Source Guides: Black British Film TV & country. The review itself is fairly ably portrayed. financed its production. The origi- complimentary but criticises the nal budget and legal wrangling filmmakers for their inconsistent over rights are included. treatment of the leading charac- SUNDAY TIMES ter’s brother, a political activist. At 29 January 1978 first he is portrayed as a hypocrite but then becomes his brother’s Putting on Pressure, by Philip saviour. The reviewer compares Oakes PRESSURE to BLACK JOY and THE HARDER THEY COME which were Takes up the story of the film’s not afraid to show the negative distribution problems almost two aspects of their leading characters. years later, this article repeats

BFI National Library 16 dvd availability

The following titles were commer- DESMOND’S (SERIES 1) PRESSURE/BALDWIN’S NIGGER cially available on video and/or Certification: PG Certification: 15 DVD in November 2007. Please Duration: 144 mins Duration: 164 mins note that titles may have been Format: DVD Region: 2 awarded an ‘18’ certificate by the Region: 2 Cat. No: BFIVD714(BFI VIDEO PUB- British Board of Film Classification. Cat. No: C4DVD10183 LISHING) (CHANNEL 4 DVD)

BABYLON THREE OF A KIND [featuring Duration: 95 minutes LENNY HENRY: SO MUCH THINGS Lenny Henry] Region 0 TO SAY – LIVE Vols. 1, 2 & 3 Raro Video (2007) Certification: 15 Certification: PG Duration: 109 mins Duration: 120 mins Region: 2 Region: 2 BLACK JOY (1977) Cat. No: 8235293(UNIVERSAL PIC- Cat. No: CCTV30190(CINEMA CLUB Certification: 15 TURES VIDEO) Duration: 95 mins Region: 2 YOUNG SOUL REBELS Cat. No: FHED1844(FREMANTLE LENNY HENRY: IN PIECES Certification: 18 HOME ENTERTAINMENT) Certification: 12 Duration: 100 mins Duration: 222 mins Format: DVD Region: 2 Region: 2 BURNING AN ILLUSION Presentation: Widescreen Cat. No: IPD10892(ILC PRIME) Certification: tc Aspect Ratio: 16:9 Wide Screen Region: 2 Cat. No: 0927455902(WARNER Cat. No: BFIVD525(BFI VIDEO PUB- VISION INTERNATIONAL) LISHING)

MONA LISA DANCEHALL QUEEN Certification: 18 Certification: 15 Duration: 99 mins Duration: 96 mins Region: 2 Region: 2 Cat. No: PWD4007(ANCHOR BAY

16 + Source Guides: Black British Film TV & Cat. No: PALM7637 ENTERTAINMENT) (PALM PICTURES)

Burning an Illusion

BFI National Library 17