“Let Justice Be Done Though the Heavens May Fall”: the Zong in Amma Asante's Belle
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Ouvrir La Voix (Speak Up/Make Your Way): a Conversation with Amandine Gay
Journal of Feminist Scholarship Volume 16 Issue 16 Spring/Fall 2019 Article 2 Fall 2019 Ouvrir La Voix (Speak Up/Make Your Way): A Conversation with Amandine Gay Anupama Arora University of Massachusetts, Dartmouth, [email protected] Sandrine Sanos Texas A&M University- Corpus Christi, [email protected] Follow this and additional works at: https://digitalcommons.uri.edu/jfs Part of the Africana Studies Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Arora, Anupama, and Sandrine Sanos. 2020. "Ouvrir La Voix (Speak Up/Make Your Way): A Conversation with Amandine Gay." Journal of Feminist Scholarship 16 (Fall): 17-38. 10.23860/jfs.2019.16.02. This Article is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Journal of Feminist Scholarship by an authorized editor of DigitalCommons@URI. For more information, please contact [email protected]. Arora and Sanos: Ouvrir La Voix (Speak Up/Make Your Way): A Conversation with Aman Ouvrir La Voix (Speak Up/Make Your Way): A Conversation with Amandine Gay Anupama Arora, University of Massachusetts Dartmouth Sandrine Sanos, Texas A&M University-Corpus Christi Copyright by Anupama Arora and Sandrine Sanos Amandine Gay Photo by Christin Bela of CFL Group Photography Introduction and Commentary “I’m French and I’m staying here … My kids will stay here too, and we’ll be here a while … I’m not going anywhere.” Afro-feminist French filmmaker Amandine Gay’s 2017 documentary film Ouvrir La Voix (Speak Up/Make you Way) ends with this unequivocal assertion, this claiming of French-ness and France as home, by one of the Black-French interviewees in the film. -
FS345 REPRESENTATIONS of IDENTITY, NATION and VALUES in BRITISH CINEMA IES Abroad London
FS345 REPRESENTATIONS OF IDENTITY, NATION AND VALUES IN BRITISH CINEMA IES Abroad London DESCRIPTION: This course examines the role of British cinema in providing a window into the changing nature of British identity and society since World War Two. Through the study of key films across the past sixty years it charts the progress of political, social, and cultural change in Britain as represented in British film. Students examine the changing economic fortunes of British cinema and its effect on the development of British film style during each period. A strong emphasis is placed on studying the contexts in which the films were originally circulated and read. The course provides opportunities to engage with film events in London, e.g., London Film Festival in the Fall Semester, and the BAFTA Film Awards in the Spring. Additionally, the course provides opportunities to know of the work of the British Film Institute archive and the course provides opportunities to utilize the resources of the British Film Institute archive and library, as well as steering students towards researching the locations, the stars, and directors of the London- based film. CREDITS: 3 credits CONTACT HOURS: 45 hours LANGUAGE OF INSTRUCTION: English PREREQUISITES: None ADDITIONAL COSTS: None METHOD OF PRESENTATION: • Lectures • Presentations of readings • Selected excerpts of film clips REQUIRED WORK AND FORM OF ASSESSMENT: • Participation in course discussion and presentation on a single film - 20% • Mid-term essay paper (approximately 1,500 words) - 30% • Group research project - 15% • End of semester essay paper (approximately 2,000 words) - 35% LEARNING OUTCOMES: By the end of the course students will be able to: • Analyze film in detail using a formal method • Understand the material, historical, ideological and economic elements of British life interface with the way that British film represents British identity • Learn about the influence of Hollywood on production, distribution and reception of feature film in the UK ATTENDANCE POLICY: Regular class attendance is mandatory. -
Belle Freeus Dealers Remotely Activate Belle Mobile PERS for Their Customers in Just Minutes and Easily Manage Their Inventory in Belle Orion Dealer Accounts
FREE BELLE PDF Lesley Pearse | 608 pages | 07 Jul 2011 | Penguin Books Ltd | 9780241950364 | English | London, United Kingdom Belle ( film) - Wikipedia Marini, ExpressNews. Send us feedback. See more words from the same year Dictionary Entries near belle bell crown Belle curve bell deck belle bell ear Belleau Belleek. Accessed 21 Oct. Keep scrolling for more More Definitions for belle belle. Please tell us where you read or heard Belle including the quote, if possible. Test Your Knowledge - and learn Belle interesting things along Belle way. Subscribe to America's largest dictionary and get thousands more definitions and advanced search—ad free! Whereas Belle is no so much Put It in the 'Frunk' You can never have too much storage. What Does 'Eighty-Six' Mean? We're intent on clearing it up 'Nip it in the butt' Belle 'Nip it in the bud'? We're gonna stop you right there Belle How to use a word that literally drives some pe Is Singular 'They' a Better Choice? Name that government! Or something like that. Can you spell these 10 commonly misspelled words? Do you know the person or title these quotes desc Login or Register. Save Word. Definition of belle. First Known Use of bellein the meaning defined above. History and Etymology for belle French, from feminine of beau beautiful — more at beau. Keep scrolling for more. Learn More about belle. Time Traveler for belle The first known use of belle was in See Belle words from the same year. Phrases Related to Belle the belle of the ball. More Definitions for belle. -
Issue # 17 / Amplified / Lashana Lynch Cf-Lab
issue # 17 / Amplified / Lashana Lynch cf-lab shop, collaborate, obsess crushfanzine.com/cf-lab limited-edition t-shirt featuring Alvin Baltrop benefiting the TGI Justice Project curated by Old-Age & crushfanzine shop crushfanzine.com/cf-lab AMMA ASANTE DR MELINA ABDULLAH Andrew Morales Betrand Bonello contributorsAmma Asante MBE is a multi-award winning Andrew Morales is a Bronx, New York-born and Bertrand Bonello is a French film director, Dr. Melina Abdullah is Professor and former writer and director who won a BAFTA for her bred photographer. His clients include Dover screenwriter, producer, and composer. His Chair of Pan-African Studies at California first film,A Way of Life (2004). This made Amma Street Market, Giorgio Armani, Highsnobiety, background is in classical music, and he lives State University, Los Angeles. She earned her the first Black director to win a BAFTA Film and WWD, among others. between Paris and Montreal. His work has Ph.D. and M.A. from the University of Southern Award for writing and directing a feature film. been associated with the New French Extrem- California in Political Science and her B.A. The film went on to garner 17 additional awards ity, a term coined by Artforum critic James from Howard University in African American worldwide, including FIPRESCI, and Grand Jury Quandt for a collection of transgressive films Studies. She was appointed to the Los Angeles prizes. by French directors at the turn of the 21st County Human Relations Commission in 2014 century. His 2014 film Saint Laurent competed and is a recognized expert on race, gender, class, Her follow up movie, Belle (2013), drew for the Palme d’Or in the main competition and social movements. -
FOX SEARCHLIGHT PICTURES Presents PATHÉ, BBC FILMS
FOX SEARCHLIGHT PICTURES Presents PATHÉ, BBC FILMS, INGENIOUS MEDIA and BFI present with the participation of CANAL+ and CINÉ+ A YORUBA SAXON / HARBINGER PICTURES / PERFECT WEEKEND / FILM UNITED PRODUCTION An AMMA ASANTE Film DAVID OYELOWO ROSAMUND PIKE JACK DAVENPORT TOM FELTON LAURA CARMICHAEL TERRY PHETO JESSICA OYELOWO ARNOLD OCENG NICHOLAS ROWE ANTON LESSER ANASTASIA HILLE JACK LOWDEN MERVEILLE LUKEBA and NICHOLAS LYNDHURST DIRECTED BY ........................................................................... AMMA ASANTE SCREENPLAY BY ..................................................................... GUY HIBBERT PRODUCED BY .......................................................................... RICK MCCALLUM ..................................................................................................... DAVID OYELOWO ..................................................................................................... PETER HESLOP ..................................................................................................... BRUNSON GREEN ..................................................................................................... JUSTIN MOORE-LEWY ..................................................................................................... CHARLIE MASON EXECUTIVE PRODUCERS ....................................................... CAMERON MCCRACKEN ..................................................................................................... CHRISTINE LANGAN .................................................................................................... -
Pugh-Sellers 1 Seeing Humans, Making Commodities: Slave Ship
Pugh-Sellers 1 Seeing Humans, Making Commodities: Slave Ship Rebellions on Film Senior Thesis Presented to The Faculty of the School of Arts and Sciences Brandeis University Undergraduate Program in African and African-American Studies and History Chad Williams, Adviser In partial fulfillment of the requirements for the degree of Bachelor of Arts By Lucia Pugh-Sellers April 2020 Committee members: Name: Chad Williams Signature:___________________________________ Name: Alice Kelikian Signature:___________________________________ Name: Faith Smith Signature:___________________________________ Pugh-Sellers 2 ACKNOWLEDGEMENTS I would like to thank my committee members, who have inspired and helped me enormously during my time at Brandeis. I am grateful to know Professors Faith Smith and Alice Kelikian, who each influenced me so much, and ultimately changed my life. Professor Chad Williams, my thesis advisor, was a model of patience, offering step-by-step guidance and sage advice. His dedication to teaching was evident from the first day I stepped into his class, when he showed himself willing to engage with an intimidated first-year student. I could not have finished this thesis without these profoundly important academic mentors. I also want to thank everyone else who helped me through this thesis process, particularly: Kavita, for being my thesis-writing buddy and commiserator; Yael, for her empathy; Allison, for advice and laughter; Tamar; my thesis cohort (Dannie, Victoria, and Jake). Finally, I would like to acknowledge my family, especially my parents and sisters, for their wholehearted support, which keeps me going. I recognize and wrestle with my positionality as white woman, and one who has largely benefited from the systems of racism I describe here. -
The Journal of Media and Diversity Issue 02 Summer 2021
Sir Lenny Henry, Amma Asante, Afua Hirsch, Kurt Barling, Chi Thai and Delphine Lievens, Nina Robinson, David Hevey, Melanie Gray, Debbie Christie, Gary Younge, Adrian Lester, So Mayer, Siobhán McGuirk, Selina Nwulu, Ciaran Thapar The Journal of Media and Diversity Issue 02 Summer 2021 1 REPRESENTOLOGY THE JOURNAL OF MEDIA AND DIVERSITY ISSUE 02 SUMMER 2021 REPRESENTOLOGY CONTENTS EDITORIAL The Journal of Media and Diversity 04 Developing Film Welcome to Issue Two of Representology - Sir Lenny Henry and Amma Asante The Journal of Media and Diversity. Since we Editorial Mission Statement interview. launched, many of you have shared 14 Finding My Voice encouraging words and ideas on how to help Welcome to Representology, a journal Afua Hirsch create a media more reflective of modern dedicated to research and best-practice 18 Putting the Black into Britain Britain. perspectives on how to make the media more Professor Kurt Barling representative of all sections of society. On March 30th, we hosted our first public event - an 24 The Exclusion Act: British East and South opportunity for all those involved to spell out their A starting point for effective representation are the East Asians in British Cinema visions for the journal and answer your questions. As “protected characteristics” defined by the Equality Act Chi Thai and Delphine Lievens Editor, I chaired a wide-ranging conversation on ‘Race 2010 including, but not limited to, race, gender, and the British Media’ with Sir Lenny Henry, Leah sexuality, and disability, as well as their intersections. 38 The Problem with ‘Urban’ Cowan, and Marcus Ryder. Our discussions and the We recognise that definitions of diversity and Nina Robinson responses to illuminating audience interventions gave representation are dynamic and constantly evolving 44 Sian Vasey - disability pioneer inside us a theme that runs through this issue - capturing and our content will aim to reflect this. -
News Release
News Release Friday 12 April 2019 National Portrait Gallery Unveils Newly Commissioned Portraits of Leading Film Directors Portraits of Amma Asante, Paul Greengrass, Asif Kapadia, Ken Loach, Sam Mendes, Nick Park, Sally Potter, Sir Ridley Scott and Joe Wright go on display for first time Images clockwise from top left: (29:04:37) Ridley Scott by Nina Mae Fowler, 2018-19; (39:44:02) Sam Mendes by Nina Mae Fowler, 2018-19; (01:44:48) Sally Potter by Nina Mae Fowler, 2018-19; (00:21:22) Joe Wright by Nina Mae Fowler, 2018-19. All works © National Portrait Gallery. Photographed by Douglas Atfield The National Portrait Gallery, London, has unveiled a major new commission of portrait drawings of some of the UK’s leading film directors by London-born artist Nina Mae Fowler. The portraits have gone on public display for the first time in a new display Luminary Drawings: Portraits of Film Directors by Nina Mae Fowler (12 April – 1 October 2019). Fowler’s work often investigates fame, desire and our relationship with cinema. For the commission, she invited directors Amma Asante, Paul Greengrass, Asif Kapadia, Ken Loach, Sam Mendes, Nick Park, Sally Potter, Sir Ridley Scott and Joe Wright to choose a film of particular significance to them. During the sittings, Fowler projected the film of their choice, and recorded their reactions on camera and through loose sketches, with their faces lit only by the light of the screen in an otherwise darkened space. Images L-R: (20:30:17) Ken Loach by Nina Mae Fowler, 2018-19; (01:40:25) Amma Asante by Nina Mae Fowler, 2018-19. -
Director Amma Asante to Receive British Urban Film Festival Honorary Award Submitted By: British Urban Film Festival (BUFF Enterprises) Thursday, 8 March 2018
Director Amma Asante to receive British Urban Film Festival honorary award Submitted by: British Urban Film Festival (BUFF enterprises) Thursday, 8 March 2018 The British Urban Film Festival will honour director Amma Asante with its’ highest accolade at the 2018 BUFF Awards on Monday 4 June. BUFF Awards (http://www.britishurbanfilmfestival.co.uk/awards) The BUFF honorary award is given to an individual in recognition of an outstanding and exceptional contribution to film, television or theatre. Amma will be the first ever female recipient of the award and the fourth individual to receive the honour following Ashley Walters last year, Wil Johnson in 2016 and Richard Pryor (posthumously) in 2015. Emmanuel Anyiam-Osigwe, CEO and founder of BUFF, said: “Having presented our very first honorary award to the daughter of Richard Pryor, i am delighted once again to present our most prestigious award to a woman whose name is synonymous with the film business and whose name is rightly celebrated all over the world. To this day, I never tire of raving on and telling people about Amma's phenomenal debut feature 'A Way of Life' in 2004. She then went on to direct 'Belle' in 2013 and in 2016, BUFF (in conjunction with Pathe UK & BBC Films) was honoured to have screened 'A United Kingdom' at our inaugural patrons gala. In spite of what's been said about Hollywood and the film business in general, it's an exciting time to be Black, British and female. BUFF has done more than most to celebrate Black British female talent over the past 13 years. -
Karen Smyth | Costume Designer Karensmyth.Co.Uk [email protected] 07785 505 574
Karen Smyth | Costume Designer karensmyth.co.uk [email protected] 07785 505 574 Karen Smyth is a costume professional with 15 years’ experience working on Film, TV and Commercials. She is an expert in the unspoken messages conveyed through clothes, taking inspiration from all around her and an eye that is constantly scouring the details of what people wear. Karen takes pride in her detailed approach and is extremely thorough in her research and prep. Her energy and drive are boundless and a warm and engaging personality allows her to quickly build a great rapport with both the production team and cast. Karen has a great team of suppliers, costume supervisors, assistants, seamstresses etc that will work for her as well as extensive fashion PR contacts from her personal styling clients and from styling television presenters. Her studio is just 20 mins from London Waterloo and can be used for fittings. Karen is a certified Covid Officer with experience in taking on Covid responsibilities alongside her costume duties. FEATURE FILMS IRE Prod. Burton Fox/Ascendant Films/Bromantics Dir. Ross McCall Cast: Craig Fairbrass, Stephen Odubola, Jason Flemyng, Zoe Tapper, Ulrich Thomsen BOILING POINT Prod. Burton Fox/Ascendant Films/Matriarch Productions/Three Little Birds Dir. Phil Barantini Cast: Stephen Graham, Jason Flemyng, Vinette Robinson, Ray Panthaki POWDER ROOM (Not HOD) Prod. Damian Jones Productions Dir. MJ Delaney Cast: Sheridan Smith, Jaime Winstone, Kate Nash, Oona Chaplin BELLE (Not HOD) Prod. Damian Jones Productions Dir. Amma Asante Cast: Gugu Mbatha-Raw, Tom Wilkinson, Emily Watson, Sarah Gadon, Penelope Wilton, Miranda Richardson, Tom Felton, Sam Reid, Matthew Goode SHORTS SPANISH PIGEON Prod. -
FOX SEARCHLIGHT PICTURES ISLE of MAN FILM and PINEWOOD PICTURES and BFI Present
FOX SEARCHLIGHT PICTURES ISLE OF MAN FILM and PINEWOOD PICTURES and BFI Present In Association with HEAD GEAR FILMS and METROL TECHNOLOGY A DJ FILMS Production An AMMA ASANTE Film GUGU MBATHA RAW TOM WILKINSON SAM REID SARAH GADON MIRANDA RICHARDSON PENELOPE WILTON TOM FELTON JAMES NORTON MATTHEW GOODE and EMILY WATSON DIRECTED BY .............................................................. AMMA ASANTE WRITTEN BY ................................................................ MISAN SAGAY PRODUCED BY ............................................................ DAMIAN JONES EXECUTIVE PRODUCERS ......................................... STEVE CHRISTIAN ........................................................................................ JULIE GOLDSTEIN ........................................................................................ IVAN DUNLEAVY ........................................................................................ STEVE NORRIS ........................................................................................ PHIL HUNT ........................................................................................ COMPTON ROSS ........................................................................................ CHRISTOPHER COLLINS CO-PRODUCERS .......................................................... JANE ROBERTSON ........................................................................................ ROBERT NORRIS DIRECTOR OF PHOTOGRAPHY ................................ BEN SMITHARD BSC PRODUCTION DESIGNER -
A Practitioner's Guide
BOOKS AND MEDIA authors, the writing is uneven. Styles range from a simple summary rendering of the research to much more engaging writing that presents data inter- Psychopathy and Law: spersed with parenthetical comments and opinions A Practitioner’s Guide that highlight the practical experience of the chap- ter’s author. Edited by Helina Hakkanen-Nyholm and Jan-Olof Nyholm. The first three chapters on the assessment of Singapore: Wiley-Blackwell, 2012. 292 pp. $48.85 psychopathy, psychopathy and brain function, and (paperback). cognition–emotion interactions in psychopathy pro- vide good summaries, although I suspect that these Psychopathy is a central topic in the practice of fo- topics are covered capably in other recent books on rensic psychiatry. There are several excellent books psychopathy. The editors aim to differentiate this on the subject, with more being published each year. book from the others, and it is the remainder of the Some of these books, however, are quite weighty and chapters that bear examination to see if this goal is comprehensive and seem better suited for academics met. and researchers than for busy clinicians. Psychopathy Some of the other chapters are highly informative and Law: A Practitioner’s Guide is not one of those and provide practical knowledge. Chapters reviewing books. the specific manifestations of psychopathy in Editors Hakkanen-Nyholm and Nyholm make women, psychopathic features in adolescence, and an clear that their goal is to try to build a bridge between examination of predatory violence in psychopathy the academic and professional worlds by providing are compact but on point and convey information an integration of topics that have immediate practical one could contemplate in the next encounter with application, but are grounded in an empirical and a psychopathic patient or examinee.