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Black Film Review Tony Gittens (Black Film Institute) NEDDO GlAD PRODUCTIONS In co-prod'ucllon with THE GHANA NATIONAL COMMISSION ON CULTURE DIPROCI OF BURKINO FASO NOR/WDR TELEVISION in association Iltb CHANNEL 4 TELEVISION, LONDON prBsBnlalllm by HAILE GERIIA introducing OYAFUNIIKE OGUNLANO ALEXANDRA DUAH KOFI GHANADA ,NICK MEDLEY IUTABARUKA AFEIO OIILAII wrillen, dlrecle~ &edited by HAILE GERIMA produced by HAILE GERIMA co-produced by SHIRIKIANA AINA director 01 pholography AGUSTIN CUBANO IinB producer ADA I. BABINO production designer KERRY MARSHALL music by DAVID WHITE Contents 2 Letter frolll the Editor 3 BFR on Video in Our Future Features 6 Keeping Up With Video Technology: An Interview With Zeinabu irene Davis by Gloria Gibson-Hudson. Deparrments Video is changing the landscape offilmmaking or so says Zeinabu . irene Davis-and BFR agrees. 4 10 Film Clips On the Black Planet Productions Tip Grindstone on the Potomac, On the Road Reggie Woolery speaks with the members ofthe Black Planet Produc-, With Black Planet Productions, The tions Video Cooperative. Until media literacy is a part ofour everyday D.R.O.P. Squad, Filmfest DC discourse we will remain passive observers ofour society and culture rather than the informed, active participants we need to be. Read 37 what BPP has to say about it. Essay_ 17 Looking at Malcolm A Cultural Warrior: BY DON BELTON Belton reflects on the two'years since Spike A Conversation With Tholl1as Allen Harris Lees Malcolm X and offers reflection on BY REGGIE WOOLERY. impressions and the importance ofhealing. From the Bronx to Harvard to France and back again. Harris talks about his journey. 41 Film Revie\V 20 An Opportunity Missed: A Review of Making the Leap with Cheryl Dunye Warrior Marks BY DENISE SNEED. BY LEASA FARRAR-FRAZER Identity politics defines Dunyes,leap from video to feature film. 43 24 In Memory Frolll the Continent In Memory ofJacqueline Shearer by Kathe A Return to the Past by E. Assata Wright. To understand our present Sandler. A warrior ofthe independent andfulfill our potentialfor the future we must embrace our past. filmmakers' movement moves onward. Haile Gerima gives the guidelines. 45 29 Calendar & Pat Aufderheide Speaks to Three Mrican Announcell1ents Fillllll1akers In Closing In Search ofan Identity... Towards Cultural Liberation...Le Maestro duQuartier Mozart. BlackFiIm ·Ui!lDU~ LETTER 2025 Eye Street, N.W. Suite 213 FROM THE Washington, D.C. 20006 Tel 202.466.2753 Fax 202.466.8395 EDITOR Editor Leasa Farrar-Frazer Consulting Editor A Decade ofBlack Film Review Tony Gittens (Black Film Institute) Publisher Eric Easter This year Black Film Review celebrates its tenth year in existence. In Associate Editor "small-arts-organization-years" that equals several lifetimes. Founded in Pat Aufderheide 1984 by David Nicholson, Black Film Review has been the only consis­ Contributing Writers tent film journal dedicated exclusively to the work and concerns of Don Belton Gloria Gibson-Hudson Black filmmakers in America and the world. Issues have featured articles Kathe Sandler Denise Sneed and interviews from around' the globe and from diverse points ofview. Larry Steele Reggie Woolery E. Assata Wright We stand at the threshold of extraordinary changes in communica- . Art Director/Graphic Designer tions-in technique and technology. To meet the demand ofa dynamic Davie Smith industry which grows ever more complex and competitive, Black Film Advertising Director Sheila Reid Review will be revitalizing its focus over the months ahead to address the many issues and advances which will forever change the film and Founding Editor David Nicholson electronic media, while maintaining a critical and analytical edge which 1985-1989 has informed and entertained our readers over the last decade. Black Film Review (ISSN 0887-5723) is published four times a year by Sojourner Productions, Inc., a non-profit corporation organized and incorporated in You'll begin to see those changes in our 10th anniversary issue, Volume the District of Columbia, in association with One Media, Inc. It is co-produced with the Black Film 8/Number 2 to be published jn Spring of 1994, as we begin to focus on Institute of the University of the District of Columbia. Subscriptions are $12 a year for individuals, $24 per the changing role ofwomen in film, and add several new features and year for institutions. Add $10 per overseas subscriptions. Subscription requests and correspon­ columns which we hope will make Black Film Review an indispensable dence should be sent to P.O. Box 18665, Washing­ tool for those who make and enjoy films. The unwavering support of a ton, D.C. 20036. All other correspondence should be sent to the above address; submissions must include family ofsubscribers, friends and volunteers llas kept Black Film Review a self-addressed envelope. No part of this pUblication can be reproduced without the written consent of the up and running for the last decade. We extend a heartfelt thanks to pUblisher. Logo and contents copyright Sojourner Productions, Inc. and in the name of the individual each, and every one ofyou. With our vision focused toward the future contributors. and your continued support Black Film Review will provide you with Black Film Review welcomes submissions from writers, but we prefer that you first query with a information that makes a difference for many more decades to come. letter. All solicited manuscripts must be accompa­ nied with a stamped, self-addressed envelope. We are not responsible for unsolicited manuscripts. Black Film Review has signed a code of practices with the National Writers Union, 13 Astor Place, 7th Floor, New York, NY 10003. National Advertising Sales: One Media 202.466.472( Leasa Farrar-Frazer, editor Black Film Review 2 ack Film Review on Video in Our Future merica gets the lion's share of its illuminatirtg interviews. Achkar's very information and understanding personal work is a reflection on the life A ofsocial and cultural issues of his deceased father and his own cross­ from the electronic media. This fact cultural identity. The artist and cultural alone underscores the importance and future of Cameroon is the thrust of far-reaching implications of the video Jean-Marie Teno's talk with explosion in our country. Hundreds of Aufderheide. A music video sensibility thousands ofvideo cameras, televisions infuses Jean-Pierre Bekolo's film and VCRs are sold annually in the Quartier Mozart. He explains his vision United States turning the averag~ of the contemporary life ofyoung American into his own producer and director. Mricans. The past and its relationship to our The growth in popularity ofvideo technol­ racial, sexual and gender issues from a grassroots future and present is the cornerstone of Haile ogy and its cost effectiveness make it a viable perspective. The members of Black Planet Gerima's work. He shares his view of the production alternative for many independent Productions Cooperative speak candidly with political implication offilmmaking and film filmmakers. While its easy accessibility gives Reggie Woolery about its direction which distribution with E.Assata Wright. Some of the America the opportunity to turn the camera on includes a national tour. Zeinebu irene Davis work of these four African filmmakers is now itself and others, the idea that everyone can be a speaks with Gloria Gibson-Hudson about the available on video which affords an opportunity filmmaker constitutes a flaw in our understand­ advantages of using video rather than film for wider exposure to a American audience. ing of the video industry's social relevance. format and the information exchange net­ Video technology holds vast promise for the Ther~ are quantum leaps between simply work-bartering for knowledge-in which she future and will continue to affect our lives in documenting one's experiences with a video is active and which reflects a community ways which were unfathomable a short decade camera and breathing life into a visually approach operative in her work and teaching. ago. With ~he restructuring ofAmerica's compelling concept that can affirm individual Cheryl Dtinye's video background is a spring telecommunication/media systems currently in and collective experiences, inspire and change board into her first feature film, a development full swing the power of the genre is increasingly people's thinking. This issue of Black Film that will not end her involvement with video, evident. Its mobility, relative low cost, and Review explores the use and impact ofvideo for but, will enhance it. Indeed, many independent spontaneity add to its appeal. However,. video a number of independent filmmakers. filmmakers use both film and video media remains flat without the skillful eye and Video affords an immediacy evident in interchangeably-as the budget allows. Identity sensibility ofan inspired videographer/ Black Planet Productions' work which pulsates and spirituality are themes which run through filmmaker behind the lens. Black Film Review with an urgency with which its members feel we Thomas Allen Harris' work. He brings to his applauds the image makers in this issue and all must embrace media literacy in our communi­ craft as a filmmaker/videographer, performance those who strive to present images humanistic ties. Video montages ofsearing images informed artist and writer a unique vision which he in impulse and global in scope. by a hip-hop sensibility set the broad param­ shares with Reggie Woolery. eters of their message which presents social, Black Film Review continues its concern with all aspects of Black film wherever it is produced. Pat Aufderheide speaks with three Mrican filmmakers in three separate and Black Film Review 3 Grindstone on the Poogie, one of the film's central Page is extremely patient, yery Potomac characters, the film takes a hard helpful and willing to do Washington, D.C. firm Linro look at how family unity and anything necessary to get the Enterprises, in conjunction with integrity are necessary to project done," said Robinson.
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