M a Dry White Season

Total Page:16

File Type:pdf, Size:1020Kb

M a Dry White Season A DRY WHITE SEASON ade in 1989, A Dry White Season , things straight. He hires a lawyer, Ian this first ever release of the score, we used a searing indictment of South Africa Mackenzie (Brando), a human rights attor - only score cues and those cues are as they Munder apartheid , was a superb, riv - ney who knows the case is hopeless but were originally written and recorded. The eting film that audiences simply did not who takes it on anyway. The case is dis - film order worked beautifully in terms of dra - want to see, despite excellent reviews. Per - missed, more people die, Du Toit is threat - matic and musical flow. We’ve included two haps it was because South Africa was still ened, he is abetted in his political bonus tracks – alternate versions of two in the final throes of apartheid and the film awakening by a reporter (Susan Sarandon), cues, which bring the musical presentation was just too uncomfortable to watch. Some - has his garage bombed, and has his wife to a very satisfying conclusion. times people need distance and one sus - and daughter turn against him. Only his pects that if the film had come out even a young son knows that what Du Toit is trying Dave Grusin is one of those composers decade later it would have probably been to do is right. Eventually, gathering affidavits who can do everything. And he has – from more successful. As it is, over the years from many people, he is able to outwit the dramatic film scoring to his great work in tel - people have discovered it and been truly af - secret police and have the documents de - evision (It Takes A Thief, Maude, Good fected by its portrayal of racial turmoil in a livered to a newspaper, but in the end it Times, Baretta, The Name Of The Game, country divided and the way the film was does no real good. And Du Toit pays the ul - Columbo, etc.), to wonderful light comedy able to put the politics of apartheid in mean - timate price for standing up for human scores, as well as his jazz and arrang - ingful human terms. rights and equality. ing/conducting projects for such incredible people as Quincy Jones, Paul Simon, Ser - Set in 1976 around the time of the Soweto The performances are superb – it’s truly gio Mendes, Al Jarreau, Patti Austin, Billy riots, the film was adapted from a novel by sad that Sutherland, who gives the per - Joel and many others. He is a multiple Andre Brink (the only book in Afrikaans to formance of his career, was not nominated Grammy Award-winner, a multiple Academy be banned in South Africa), and directed by for an Academy Award. Marlon Brando is Award nominee (he won the Oscar for The Euzhan Palcy, who was the first black fe - unforgettable as the attorney – he has only Milagro Beanfield War) . Now in his mid-70s, male director ever hired to direct a major two scenes but gives a brilliant performance he’s still the coolest guy in any room, and studio film (MGM). Palcy had made the crit - for which he received an Academy Award he’s still going strong. ically acclaimed feature Sugar Cane Alley , nomination for Best Supporting Actor (the which was highly thought of by other film - film’s only nomination). Thanks to DVD and This first ever release for A Dry White Sea - makers. She co-wrote A Dry White Season cable, new audiences have been able to son was taken from the three-track half-inch with Colin Welland. The film was shot on a discover this important and terrific film. Its mixdowns housed in the vaults at MGM. fairly tight budget of nine million dollars, an reputation keeps growing with each pass - They were in perfect condition. There was amazing figure when you consider the cast ing year. previously only a promotional cassette involved – Donald Sutherland , Janet Suzman, made for the music branch of the Academy Susan Sarandon, and, coming out of re - Adding immeasurably to the project is Dave – that cassette only had music as used in tirement because he was so moved by the Grusin’s score. Grusin proved to be the per - the final film, and had erratic volume levels project, Marlon Brando, who worked for fect choice, and in a career filled with great and some sound effects as well. It is a scale. The supporting performances are scores (The Heart Is A Lonely Hunter, pleasure to finally put out the entire score in equally stellar, including Zakes Mokae, Win - Heaven Can Wait, Tootsie, The Goonies, On pristine sound. ston Ntshona and Jurgen Prochnow. Palcy’s Golden Pond, The Milagro Beanfield War, direction was praised and she was invited Three Days Of The Condor, The Goodbye — Bruce Kimmel to meet Nelson Mandela after he saw a Girl, Murder By Death, and on and on), A screening and was very impressed with the Dry White Season is one of his best - film. moody, haunting, tension-filled, and ex - tremely moving – like the film, it really gets Sutherland plays a South African school - under your skin. teacher named Ben Du Toit. When his gar - dener Gordon’s young son is arrested and The score as used in the film is quite short, killed by the corrupt secret police, and then about twenty-eight minutes. The film also Gordon, too, is tortured and killed, Suther - uses traditional African music. Some cues land becomes involved in trying to set went unused, some were truncated, but for.
Recommended publications
  • PDF Download a Dry White Season Ebook Free
    A DRY WHITE SEASON PDF, EPUB, EBOOK Andre Brink | 316 pages | 31 Aug 2011 | HarperCollins Publishers Inc | 9780061138638 | English | New York, NY, United States A Dry White Season PDF Book There are no race relations. Marlon Brando as McKenzie. Detroit: Gale Research, From metacritic. What does he think life is like there? There are so many passages that resonate with the barriers, pitfalls and depressing realities that never seem to change when fighting for a better world against incredible resistance and hatred: When the system is threatened they will do anything to defend it It's not cynicism, it's reality I just want to go back to the way things were Don't you think they would do the same to us if they had the chance. In this process the marriage dissolves. Thompson, Leonard. Police show up at the house with some regularity—to question the Du Toits, to search the house, and ultimately to threaten them. Cry, the Beloved Country. Susan Sarandon plays a sympathetic journalist, and Marlon Brando, in a juicy comeback cameo that evokes Orson Welles's Clarence Darrow impersonation in Compulsion , plays an antiapartheid lawyer. How can scenes of torture and of the death of children not? Afrikaner —the former term was Boer —refers to whites who descend mainly from the early Dutch but also from the early German and French settlers in the region. Trailers and Videos. It's filled with beautiful beaches, abundant wildlife, lush rainforest, lovely waterfalls and dozens of volcanos. In the book the image is rooted in a specific event.
    [Show full text]
  • Implications of a Feminist Narratology: Temporality, Focalization and Voice in the Films of Julie Dash, Mona Smith and Trinh T
    Wayne State University Wayne State University Dissertations 11-4-1996 Implications of a Feminist Narratology: Temporality, Focalization and Voice in the Films of Julie Dash, Mona Smith and Trinh T. Minh-ha Jennifer Alyce Machiorlatti Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the Critical and Cultural Studies Commons, and the Film and Media Studies Commons Recommended Citation Machiorlatti, Jennifer Alyce, "Implications of a Feminist Narratology: Temporality, Focalization and Voice in the Films of Julie Dash, Mona Smith and Trinh T. Minh-ha" (1996). Wayne State University Dissertations. 1674. http://digitalcommons.wayne.edu/oa_dissertations/1674 This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. IMPLICATIONS OF A FEMINIST NARRATOLOGY: TEMPORALITY, FOCALIZATION AND VOICE IN THE FILMS OF JULIE DASH, MONA SMITH AND TRINH T. MINH-HA Volume I by JENNIFER ALYCE MACHIORLATTI DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 1996 MAJOR: COMMUNICATION (Radio/Television/Film) Approved by- © COPYRIGHT BY JENNIFER ALYCE MACHIORLATTI 1996 All Rights Reserved her supportive feminist perspective as well as information from the speech communication and rhetorical criticism area of inquiry. Robert Steele approached this text from a filmmaker's point of view. I also thank Matthew Seegar for guidance in the graduate program at Wayne State University and to Mark McPhail whose limited presence in my life allowed me consider the possibilities of thinking in new ways, practicing academic activism and explore endless creative endeavors.
    [Show full text]
  • MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
    The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953).
    [Show full text]
  • Pages from Actas VII Congreso
    LUCES SOBRE SOMBRAS: LAS PRECURSORAS CINEMATOGRÁFICAS AFROAMERICANAS Platas, Alonso, María RESUMEN(español 150 palabras máximo) Como directoras, guionistas, productoras y distribuidoras, las mujeres afroamericanas contribuyeron de manera decisiva en los orígenes de la industria cinematográfica estadounidense. La escala de valores del heteropatriarcado occidental que aún domina el negocio destinó durante casi un siglo a estas pioneras y sus trabajos a un severo oscurantismo del cual comenzaron a emerger a finales del siglo XX a través de las investigaciones realizadas por varias historiadoras, cineastas y críticas afroamericanas. En esta comunicación pondré en valor las aportaciones de estas precursoras al desarrollo del cine estadounidense como contribuciones fundamentales a la representación de la diversidad de raza, género y clase. PALABRAS CLAVE (máximo 5) Afroamericanas, Cine, Mujeres, Directoras, Precursoras ABSTRACT (inglés, 150 palabras máximo): As directors, scriptwriters, producers and distributors, African American women played a decisive role in the origin of the motion pictures industry in the United States. For almost a century, the white patriarchal values that still dominate the business have sent these pioneers and their works to a severe obscurantism. The research initiated by African American women historians, filmmakers and critics by the end of the 20th century brought to the forefront these pioneers and their works. This paper offers a brief introduction to these cinematic foremothers as fundamental figures in the cinema of the United States offering varied representations of race, gender and class. KEYWORDS (máximo 5) African American, Film, Women, Directors, Pioneers LUCES SOBRE SOMBRAS: LAS PRECURSORAS CINEMATOGRÁFICAS AFROAMERICANAS El tema central de mi tesis es el cine feminista afroamericano contemporáneo y el uso del biopic – filme de corte biográfico – como género cinematográfico empoderador para las mujeres afroamericanas.
    [Show full text]
  • March 28-31, 2019
    March 28-31, 2019 Most Beloved French Actor Thierry Lhermitte Leads Diverse Delegation of Filmmakers Eight Free Master Classes with actors, directors, authors, screenwriters, and cinematographers Exclusive Media Sponsor All films have English subtitles and are presented by their actors and directors. 27th annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilmfestival.us Virginia Commonwealth University and the University of Richmond present Richmond,Virginia contents Film Schedule . p . 3 Lock in your pass for the Special Events . p . 4 28th French Film Festival Master Classes . pp . 7-15 with the 27th festival price 2019 Feature Films . pp . 16-32 Regular VIP Pass: $115 Libre . 16 Fait d’hiver . 17 Instructor VIP Pass: $105 Occurrence at Owl Creek Bridge . 17 Student VIP Pass: $65 A Dry White Season . 18 Official Reception Add-On: $25 En mille morceaux . 19 Make check payable to: French Film Festival Le Procès contre Mandela et les autres . 20 Méprises . 22 Mark your calendars! Rémi sans famille . 23 28th French Film Festival Abdel et la Comtesse . 24 March 26-29, 2020 La Finale . 25 Tueurs . 26 Offer available only during weekend Le Collier rouge . 27 of Festival – see “Will Call Table” Tout ce qu’il me reste de la révolution . 28 Et mon coeur transparent . 29 Co-academic Sponsors Virginia Commonwealth University and the University of Richmond present Les Chatouilles . 30 Richmond,Virginia March 22-25, 2018 March 30-April 2, 2017 L’Échange des princesses . 31 L’Ordre des médecins . 32 2019 Short Films . pp . 33-39 Saturday, March 30 Leur jeunesse . 33 All films have English subtitles Exclusive Media Sponsor Sans gravité .
    [Show full text]
  • Newsletter Été 2009
    Bulletin Culturel July - August 2009 focus DJ Medhi The Cinematheque Ontario presents The New Wave UNIVERSAL CODE EXHIBITION AT THE POWER PLANT Gabriel Orozco, Black Kites Perspective Summer paths lead you through meadows, marshlands and marches. Get rid of the astrolab, forget about GPS, whatever the compass : in such a mess, where is Contents the satellite bending over ? Time spend to cook is pure happiness. During harsh winter, Amélie Nothomb PAGE 4 - Festival shared with us her admiration for her sister Juliette’s recipes : « to please me, PAGE 5 - Exhibitions [she] cooks up, with a lot of humor, theorically freakish dishes, at the end I enjoy PAGE 6 - Theater them so much. Green tea chesnut spread is my favorite, but overall, sweet tooth obliged, is the Mont Fuji cake which remembers me about my descent… »* PAGE 7 - Music Power Plant invites artists dealing with beginnings to end mysteries, the Cine- PAGE 9 - Cinema matheque offers on-going images’ feast. DJ Medhi and M83 go electro. Joël Savary, Attaché Culturel * « La cuisine d’Amélie, 80 recettes de derrière les fagots » by Juliette Nothomb. July 2009 Monday Tuesday Wednesday Thursday Friday Saturday Sunday 12 3 4 5 CINEMA CINEMA CINEMA - A woman is a - Alphaville The Nun woman - Jules and Jim - Breathless 6 7 8 9 10 11 12 CINEMA CINEMA CINEMA The sign of Leo Pierrot le fou - To live her life - And God created woman 13 14 15 16 17 18 19 CINEMA CINEMA CINEMA THEATER THEATER - Band of Out- Les bonnes Bob le flam- Je serais tou- Je serais tou- siders femmes beur jours là ..
    [Show full text]
  • EUZHAN PALCY Rue Cases-Nègres
    EUZHAN PALCY Rue Cases-Nègres DOSSIER 186 COLLÈGE AU CINÉMA L’AVANT FILM L’affiche 1 Film d’époque Réalisatrice & Genèse 2 Euzhan Palcy SYNOPSIS Acteurs 4 L’empire colonial français est à son apogée, LE FILM l’Exposition coloniale de 1931 va se tenir à Paris. À la Martinique, l’esclavage a été aboli en 1848, mais Analyse du scénario 5 les Blancs « békés » contrôlent toujours l’écono- Le sacrifice d’une grand-mère mie et les Noirs sont toujours misérables, travail- lant pour quelques sous dans les plantations de Découpage séquentiel 7 canne à sucre. Dans la bourgade de Rivière-Salée, les békés vivent dans de somptueuses villas, les Personnages 8 Noirs dans des cases de bois et de paille alignées Relations d’apprentissage dans ce lieu-dit : rue Cases-Nègres. La journée, les parents travaillent aux champs, et Mise en scène & Signification 10 les enfants vont à l’école, obligatoire pour tous Une chronique depuis la loi républicaine de Jules Ferry. Lorsque en touches impréssionnistes arrivent les vacances, les enfants, livrés à eux- mêmes à leur plus grande joie, sont les maîtres de Entretien 13 la rue Cases-Nègres. Puis vient la rentrée des classes. José, 11 ans, est un bon élève, curieux et Analyse d’une séquence 14 attentif. M’man Tine, la grand-mère affectueuse qui Fin d’une époque dans la vie de José élève José, fait tout pour qu’il puisse, grâce à l’ins- truction, vivre une vie meilleure que la sienne, elle qui s’est échinée au travail. L’instituteur noir, qui a AUTOUR DU FILM écrit au tableau que « l’instruction est la clé qui ouvre la deuxième porte de notre liberté », estime que José Histoire de la Martinique 16 peut obtenir une bourse.
    [Show full text]
  • Ufahamu: a Journal of African Studies
    UCLA Ufahamu: A Journal of African Studies Title Andre Brink's White Female Anti-Apartheid Rebels Permalink https://escholarship.org/uc/item/2zz5w1kf Journal Ufahamu: A Journal of African Studies, 26(2-3) ISSN 0041-5715 Author Diala, Isidore Publication Date 1998 DOI 10.5070/F7262-3016620 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Andre Brink's White Female Anti-Apartheid Rebels Isidore Diala Roben Young has argued that the attempt at the decolonization of European thought, especially of historiography, is characteristic of modernism ( 1990: 118). Locating the basic intellectual inspiration of this post World War ll anti-colonization in Fanon's The Wretched of the Earth, Young writes that given Fanon's insight that history is man's creation, Fanon's work demonstrates the objectification and condemnation to immobility and silence of the men and women who are the objects of that history (120). The great irony, Young laments, is that humanism, exalted among the highest values of European c ivilization, provided the justification for colonial appro­ priation, excluding the "native" and "women" from its highly po­ liticized category of ··man•· ( 12 1). Andre Brink, himself an Afrikaner, has offered a sustained insight into the Afrikaner establjshment's creations of myths to jus­ tify the objectification and thus dehumanization of the Black Other. In the Brink oeuvre, for the White as well as for the Black, the recog­ nition of the common humanity of all men is treated as the attainment of a revolutionary political consciousness. Brink equally presents rebellion against apartheid as an affumation of humanity.
    [Show full text]
  • Afro- Caribbean Women Filmmakers
    NORTHWESTERN UNIVERSITY RE-VIEWING THE TROPICAL PARADISE: AFRO- CARIBBEAN WOMEN FILMMAKERS by HASEENAH EBRAHIM PH.D DISSERTATION SUBMITTED 1998 DEPT OF RADIO/TV/FILM, NORTHWESTERN UNIVERSITY, EVANSTON, ILLINOIS, USA 1 ABSTRACT This dissertation presents a new conceptual framework, a "pan-African feminist" critical model, to examine how Euzhan Palcy of Martinique, Gloria Rolando and the late Sara Gómez of Cuba, and the Sistren Collective of Jamaica have negotiated - individually or collectively - the gender/race/class constraints within each of their societies in order to obtain access to the media of film and video. I examine the aesthetic, political, social and economic strategies utilized by these filmmakers to reinsert themselves into recorded versions of history, and/or to intervene in racist, (neo)colonial and/or patriarchal systems of oppression. 2 CHAPTER 1: INTRODUCTION Purpose and Scope of the Dissertation This dissertation examines the aesthetic, political, social and economic strategies utilized by selected Afro-Caribbean women filmmakers in exploiting the media of film and video to reinsert themselves into recorded versions of history, to challenge their (mis)representations, and/or to intervene in racist, (neo)colonial and/or patriarchal systems of oppression.1 I offer what I have termed a “pan-African feminist” analytical framework2 as a methodological tool to examine the manner in which these Afro- Caribbean women filmmakers have negotiated, individually as well as collectively, the gender/race/class constraints within each of their societies in order to obtain access to the media of film and video, to adopt culturally relevant communication strategies and themes, and to pursue their goals of social transformation and cultural empowerment.
    [Show full text]
  • The Sports Film
    THE SPORTS FILM GAMES PEOPLE PLAY B RUCE BABINGTON WALLFLOWER LONDON and NEW YORK Sports_film_pages.indb 3 15/1/14 15:03:46 INTRODUCTION: START OF PLAY A few introductory words about Invictus Invictus (Clint Eastwood, 2010) is a useful point to begin a short account of the sports film. A recent, high profile production, with two actors (Morgan Freeman as Nelson Mandela and Matt Damon as François Pienaar, the cap- tain of the South African rugby team) nominated for Academy Awards, and a major contemporary American director in Eastwood, it attests both to the contemporary prestige of the proliferating sports film, and to the interna- tionalising of the genre. Films such as Cry Freedom (Richard Attenborough, 1987), Cry the Beloved Country (Darrell Roodt, 1995), The Power of One (John G. Avildsen, 1992), A Dry White Season (Euzhan Palcy, 1989), and Goodbye Bafana (Billie August, 2007), demonstrate the contemporary cinema’s fascination with the South African apartheid regime and its fall, and with the figure of Nelson Mandela, widely seen as one of the political heroes of our time. Another film about this era might have been expected, but hardly a Hollywood production based on the 1995 Rugby World Cup, rugby being a lower tier sport in the US (the largely forgotten progenitor of American football), and Hollywood faithfully reflecting American parochial- ism as regards other nations’ sports. Like many of the most memorable sports films, Invictus through its sports narrative addresses not just sporting matters but wider issues, not implicitly as many do, but very explicitly, thus providing an overt opening example of the genre’s workings.
    [Show full text]
  • Black Hollywood Films, Filmmakers, and Finances
    City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 6-2021 Remaking Cinema: Black Hollywood Films, Filmmakers, and Finances Kiana A. Carrington The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4405 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] REMAKING CINEMA: BLACK HOLLYWOOD FILMS, FILMMAKERS, AND FINANCES by KIANA CARRINGTON A master’s thesis submitted to the Graduate Faculty in Data Analysis and Visualization in partial fulfillment of the requirements for the degree ofMaster of Science, The City University of New York 2021 © 2021 KIANA CARRINGTON All Rights Reserved ii Remaking Cinema: Black Hollywood Films, Filmmakers, And Finances by Kiana Carrington This manuscript has been read and accepted for the Graduate Faculty in Data Analysis and Visualization in satisfaction of thethesis requirement for the degree of Master of Science. Date Aucher Serr Thesis Advisor Date Matthew Gold Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Remaking Cinema: Black Hollywood Films, Filmmakers, And Finances by Kiana Carrington Advisor: Aucher Serr The goal of my project was to create a dataset ofblack film that can be used for analysis of fiscal trends in black film. It includes the estimated budget, domestic and worldwide box office numbers for over 700 American black films. I defined black films as those that centered on African American stories and African American characters, or were made by Black filmmakers.
    [Show full text]
  • Afro- Caribbean Women Filmmakers
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Wits Institutional Repository on DSPACE NORTHWESTERN UNIVERSITY RE-VIEWING THE TROPICAL PARADISE: AFRO- CARIBBEAN WOMEN FILMMAKERS by HASEENAH EBRAHIM PH.D DISSERTATION SUBMITTED 1998 DEPT OF RADIO/TV/FILM, NORTHWESTERN UNIVERSITY, EVANSTON, ILLINOIS, USA 1 ABSTRACT This dissertation presents a new conceptual framework, a "pan-African feminist" critical model, to examine how Euzhan Palcy of Martinique, Gloria Rolando and the late Sara Gómez of Cuba, and the Sistren Collective of Jamaica have negotiated - individually or collectively - the gender/race/class constraints within each of their societies in order to obtain access to the media of film and video. I examine the aesthetic, political, social and economic strategies utilized by these filmmakers to reinsert themselves into recorded versions of history, and/or to intervene in racist, (neo)colonial and/or patriarchal systems of oppression. 2 CHAPTER 1: INTRODUCTION Purpose and Scope of the Dissertation This dissertation examines the aesthetic, political, social and economic strategies utilized by selected Afro-Caribbean women filmmakers in exploiting the media of film and video to reinsert themselves into recorded versions of history, to challenge their (mis)representations, and/or to intervene in racist, (neo)colonial and/or patriarchal systems of oppression.1 I offer what I have termed a “pan-African feminist” analytical framework2 as a methodological tool to examine the manner in which these Afro- Caribbean women filmmakers have negotiated, individually as well as collectively, the gender/race/class constraints within each of their societies in order to obtain access to the media of film and video, to adopt culturally relevant communication strategies and themes, and to pursue their goals of social transformation and cultural empowerment.
    [Show full text]