Co-Produced with the Black Film Institute of the University of the District of Columbia the Vision
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Co-produced with the Black Film Institute of the University of the District of Columbia the vision. the voice. From LA to London and Martinique to Mali. We bring you the world ofBlackfilm. Ifyou're concerned about Black images in commercial film and tele vision, you already know that Hollywood does not reflect the rnulti- cultural nature ofcontemporary society. You know thatwhen Blacks are not absent they are confined to predictable, one-dill1ensional roles. You ll1ay argue that ll10vies and television shape our reality or that they sinlply reflect that reality. In any case, no one can deny the need to take a closer look atwhat is cOllling out ofthis powerfullllediulll. BlackFilm Review is the forum you've been looking for. Four times a year, we bringyou film criticism from a Black perspective. We look behind the surface and challenge ardinary assumptiol~s about the Black image. We feature actors aI~d actresses that go agall~st the grail~, aI~d we fill you ll~ Ol~ the rich history ofBlacks ll~ American filrnrnakll~g- a history that goes back to 1910! And, Black Film Review is the only magazine that brings you news, reviews and in-deptl1 interviews frOIn tl1e Illost vibrant movement in conteIllporary film. You know about Spike Lee butw11at about Euz11an Paley or lsaacJulien? Soulelllayne Cisse or Charles Burnette? Tl1rougl1 out the African diaspora, Black filmIllakers are giving us alternatives to tlle static illlages tllat are procluceel in Hollywooel anel giving birtll to a wllo1e new cinellla...be tllere! ••••••••••••••••••••---ooten INTERVIEW ------------------- 4 VOL.5 NO.3 John Akromfah &Robert Gardner by Miriam Rosen Two award-winning filmmakers talkto each Black Film Review other about Britai n's fi 1m 2025 Eye Street, NW collectives and the American long dis Washington, DC 20006 tance runner. (202) 466-2753 The Future of Black Film: The Editor Jacquie Jones Debate Continues _ _ _ _ _ _ 6 by Zeinabu irene Davis and by Assistant Editor Peter J. Harris Clyde Taylor Criti cs and fi Immakers ag ree that the theme Features Ed-tor Lett Proctor for the 90s must be open lines of communication Consulti g Editor 10 Tony Gittens SIDEWALK STORIES (Black Film Institute) On the Cover: A Minute A Year ---- 10 Associate Editor/Film Critic Arthur Johnson by Roy Campanella II Associate Editors Charles Lane recounts the making of Sidewalk Stories, the silent film Pat Aufderheide that shook Cannes Roy Campanella II Victoria M. Marshall The Distance Travelled 16 Mark A. Reid by Yule Caise Miriam Rosen From New York to LA, from short to feature, Reginald and Warrington Hudlin discuss Saundra Sharp their new film, House Party Clyde Taylor Marketing Director What Is Madison Avenue Really Selling?- -- -___ 21 Jenice View by Gene Robinson Advertising Director While white Americans are reading about the dangers of cholesterol, Black Ameri Jennifer Logan cans are being shown the "joys" of eating Kentucky Fried Chicken Art Director Davie Smith Books -------------------- 22 Founding Editor Black Action Films David Nicholson by Roland Jefferson 1985 -1989 Finally, a readable reference book Black Film Review (ISSN 0887-5723) is published fourtimes ayear by Sojourner Productions, Inc., anon FEATURES profit corporation organized and incorporated in the District of Columbia. This issue is co-produced with the Film Clips ------------------- 2 Black Film Institute of the University of the District of Venezuelan Oscar Lucien, Prized Pieces, On Call, and more Columbia. Subscriptions are $12 ayear for individuals, $24 a year for institutions. Add $10 per year for overseas subscriptions. Subscription requests and Reviews -------------------- 24 correspondence should be sent to P.O. Box 18665, Harlem Nights, Gloryand Driving Miss Daisy Washington, D.C. 20036. Send all other correspon denceand submissionstotheaboveaddress;submissions must include a stamped, self-addressed envelope. No Calendar ------------------- 32 part of this publication may be reproduced without written consent of the publisher. Logo and contents copyright (c) Sojourner Productions, Inc., 1987, and in Classifieds ------------------- 29 the name of individual contributors. Black Film Review welcomes submissions from writ ers, but we prefer that you first query with a letter. All unsolicited manuscripts must be accompanied by a stamped, self-addressed envelope. We are not respon sible for unsolicited manuscripts. Black Film Review has signed acode of practices with the National Writers Union, 13AstorPlace, 7th Floor, New York, N.Y. 10003. This issue of Black Film Review was produced with the assistance of grants from the D.C. Commission on the Arts and Humanities the National Endowement for the Arts and John D. and Catherine T. MacArthur Foundation. 16 HOUSE PARTY III eli p s by Victoria Marshall society. The film had an ••••• elaborate formal opening in and was very well received. There is a hu morous irony in realizing nlike most inde that in the audience was pendent filmmakers, Oscar the same people, sarcasti LUCien has the patronage, interacts, familiarizes slavery. To call Lucien a cally characterized who public recognition and himself and camera with "Black Venezuelan" would mockingly condone cor satisfaction of knowing the people who are the be inappropriate since all ruption. that his films are appreci focus of the film. Only after Venezuelans acknowledge Lucien also co-produced ated. However, Lucien all are comfortable within being of mixed-blood EI Escandalo, a feature does not consider himself, each others' presence is he ethnicity. Memorias lets based on the actual events fundamentally, "a comfortable shooting the the audience see and hear of an insider-trading filmmaker." He is a soci film. from the people of Cumana scandal in the Venezuelan ologist and to him making What is fact and what is about their history and petroleum industry and he films is only one way of fiction in a realist docu how they understand their is in the process of struc communicating to fellow mentary? Through his present conditions. turing a script for his first Venezuelans what he has aesthetic values and his Lucien considers all feature, a fictional love observed of his society. pre-occupation to present expression of social com story with people who Lucien's films, realist . reality honestly, Lucien ap munication in his analysis have to deal with "every documentary shorts, have proaches varied subjects of Venezuela. Releve, made day issues." Social issues received government with a delicate intimacy as an homage to a Vene are critiqued by the funding, distinctive hon that allows viewers to feel zuelan artist, Degas, is a audience who are con ors, international exhibition close to the people and the dance practice. Dancehoy fronted with the "reality" and commercial respecta subject of his films. is the dance troupe high and how Lucien presents bility. Memorias is his only film lighted. Lucien's camera the issues.He hopes to "I aspire to situate that directly focuses on the inconspicuously captures begin production this year. myself as a documentary life and history of Afro the troupe members as Speaking as a Venezue filmmaker because I am Venezuelans living in they warm-up and re lan sociologist/filmmaker interested in following Cumana. Venezuela is a hearse a dance. The final of African descent, Lucien social movements by par South American country, dance performance is not is very interested in having ticipating, by taking an that shares the historic re the only expression of more concrete, interactive aesthetic, political and gional legacy of colonial social aesthetic beauty. contact with other social perspective," Lucien The process of preparing filmmakers of the African says. for the presentation of the diaspora. Although there is What does Lucien dance also has aesthetic nodiasporie thematic consider a beauty and warrants social focus within his films, realist appreciation. Lucien is interested in all docu Releve and Memorias films that concern people men are examples of Lucien within their own culture. tary? capturing moments of Venezuela is Lucien's He will reality and presenting home. It is a multicultu not im those moments on film. ral, multiethnic, multilin pose As a sociologist, gual, Latin American himself, Lucien critiques social society. "Subtle forms of with a cam issues through articles racism do exist in Vene era, within a and films steeped in zuela," according to Lu social environ social satire and cien, as they do in all ment, then dramatic realism. societies of the African superimpose a Reportaje Especiaj diaspora. narrative expla addressed the om He wants to make a film nation of what is nipresence of con about the African presence being viewed. doned "corruption" in Latin America, and Lucien observes, in all segments of his intends to do so once he 2 has raised enough money. Unspoken Conversations against women as well as Variations of the Mo Better Film is generally regarded by Iman Hameen, U.S.A.; reflections on the Civil Blues. Although the film as fictional representation. Best Black Independent Rights era. The video was will still feature Coltrane's Perhaps Oscar Lucien's Producer, Zajota & the shot by independent music, Lee agreed to many successes come Boogie Spirit by Ayoka filmmakers Susan Pollack change the title because from his aesthetical Chenzira, U.S.A. and Zeinabu Davis, and is Coltrane's widow, Alice prese ntati 0 n of fact, For information on co-produced by Konda Coltrane, was uncomfort through the eyes of a Prized Pieces contact Mason. For more informa able with the explicit sociologist. Jackie Tshaka, National tion contact: Quinta Se language in the film's Lucien completed his Black Programming ward, 1292 Burnside Ave script. university education in Consortium, 929 Harrison nue, Los Angeles, CA Lee's controversial Do France, obtaining degrees Avenue, Columbus, Ohio 90019, Telephone (213) The Right Thing, recently in both sociology and film. 43215, Telephone (614) 965-0306.