Winners & Losers
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Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South. -
Finding Aid to the Historymakers ® Video Oral History with Melvin Van Peebles
Finding Aid to The HistoryMakers ® Video Oral History with Melvin Van Peebles Finding Aid to The HistoryMakers ® Video Oral History with Melvin Van Peebles Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Van Peebles, Melvin Title: The HistoryMakers® Video Oral History Interview with Melvin Van Peebles, Dates: September 9, 2006 Bulk Dates: 2006 Physical Description: 4 Betacam SP videocassettes (1:41:17). Abstract: Actor, film director, fiction writer, and playwright Melvin Van Peebles (1932 - ) is best known for his 1971 independent film, Sweet Sweetback's Baadasssss Song, which has been credited with helping start Hollywood's Blaxploitation era in the 1970s. He has also written novels and two Broadway plays, and acted in several films. Van Peebles was interviewed by The HistoryMakers® on September 9, 2006, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2006_100 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Filmmaker, author, and actor Melvin Van Peebles was born on August 21, 1932, in Chicago, Illinois. Growing up during World War II, he spent his adolescence with his father, a tailor. Van Peebles graduated from Township High School in Phoenix, Illinois, in 1949 and spent a year at West Virginia State College before transferring to Ohio Wesleyan University where he earned his B.A. degree in English literature in 1953. During the late 1950s, Van Peebles served three and a half years as a flight navigator in the United States Air Force. -
Spectacle, Masculinity, and Music in Blaxploitation Cinema
Spectacle, Masculinity, and Music in Blaxploitation Cinema Author Howell, Amanda Published 2005 Journal Title Screening the Past Copyright Statement © The Author(s) 2005. The attached file is posted here with permission of the copyright owner for your personal use only. No further distribution permitted. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/4130 Link to published version http://www.latrobe.edu.au/screeningthepast/ Griffith Research Online https://research-repository.griffith.edu.au Spectacle, masculinity, and music in blaxploitation cinema Spectacle, masculinity, and music in blaxploitation cinema Amanda Howell "Blaxploitation" was a brief cycle of action films made specifically for black audiences in both the mainstream and independent sectors of the U.S. film industry during the early 1970s. Offering overblown fantasies of black power and heroism filmed on the sites of race rebellions of the late 1960s, blaxploitation films were objects of fierce debate among social leaders and commentators for the image of blackness they projected, in both its aesthetic character and its social and political utility. After some time spent as the "bad object" of African-American cinema history,[1] critical and theoretical interest in blaxploitation resurfaced in the 1990s, in part due to the way that its images-- and sounds--recirculated in contemporary film and music cultures. Since the early 1990s, a new generation of African-American filmmakers has focused -
Sydney Program Guide
Page 1 of 37 Sydney Program Guide Sun Jul 1, 2012 06:00 THUNDERBIRDS Repeat WS G Sun Probe Follow the adventures of the International Rescue, an organisation created to help those in grave danger in this marionette puppetry classic. 07:00 KIDS WB SUNDAY WS G Hosted by Lauren Phillips and Andrew Faulkner. 07:00 SCOOBY DOO AND THE CYBER CHASE 2001 Repeat G Scooby Doo And The Cyber Chase It's a race to escape when Scooby-Doo and his friends get stuck inside a video game. While sneaking a peek at a laser game based on their own adventures, Scooby and the Mystery Inc. gang are beamed inside the program by a mayhem-causing, menacing monster known as the Phantom Virus. Now, the game must advance successfully through all 10 levels and defeat the virus if Shaggy, Freddy, Daphne and Velma ever plan to see the real world again. 08:30 SCOOBY DOO MYSTERY INCORPORATED Repeat WS G Howl of the Fright Hound When a horrible, mechanized beast begins attacking the town, suspicion points to Scooby. 09:00 THUNDERCATS Repeat WS PG The Forest Of Magi Oar The gang come across a school in an enchanted forest. Cons.Advice: Mild Violence, Supernatural Themes 09:30 YOUNG JUSTICE Repeat WS PG Denial The team volunteers to help track down Kent Nelson, the guardian of the Helm of Fate. They discover that two villainous sorcerers have abducted Nelson and plan to use him to enter the Tower of Fate and steal the Helm. Cons.Advice: Mild Violence, Supernatural Themes 10:00 BATMAN: THE BRAVE AND THE BOLD Repeat WS PG The Criss Cross Conspiracy! The long-retired Batwoman sees an opportunity for revenge against the villain who humiliated her: Riddler. -
Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South. -
Transcript a Pinewood Dialogue with Melvin And
TRANSCRIPT A PINEWOOD DIALOGUE WITH MELVIN AND MARIO VAN PEEBLES Legendary maverick Melvin Van Peebles is a novelist, composer, and filmmaker who has also worked in television, popular music, and theater. After spending the 1960s in Paris, he returned to the United States and made the groundbreaking 1971 film Sweet Sweetback’s Baadasssss Song . The stunning box-office success of this subversive and sexy film paved the way for filmmakers such as Mario Van Peebles, who directed New Jack City and Panther . Mario paid tribute to his father with his 2003 movie Baadasssss ; in this lively discussion, Van Peebles père et fils share a lifetime of experience and a playful father-son rivalry. A Pinewood Dialogue following a screening of course, when I made my first films, I went down to Sweet Sweetback’s Baadasssss Song , Hollywood and they offered me a job, but as an moderated by Chief Curator David Schwartz elevator operator. I said, “No, I don’t want—I want (May 8, 2004): to really be in front of the camera or doing creative things.” And that was—they offered me a job as a SCHWARTZ : Please welcome Melvin and Mario Van dancer. Peebles. (Applause) Anyway, long story short, I went to Holland. Melvin, your first experience in Hollywood was Through another fluke that’s too long to go into doing comedies. Of course, you did Watermelon here, my short films that had been turned down in Man . I guess you were with Universal for a while; Hollywood were seen in France, and France invited you were signed on. -
20Th Century Women by Mike Mills EXT
20th Century Women by Mike Mills EXT. OCEAN - DAY High overhead shot looking down on the Pacific Ocean. TITLE: SANTA BARBARA, 1979. EXT. SANTA BARBARA - VONS PARKING LOT - DAY WIDE ON a plume of black smoke rising high into the air. CLOSER ON a 1965 Ford Galaxy engulfed in flames. DOROTHEA (55, short grey hair, Amelia Earhart androgyny) and JAMIE (15, New-Wave/Punk) jog their shopping cart toward the commotion, stunned to find their car in flames. Dorothea looks at the car and then at her son Jamie, concerned. People run for help. Sirens in the background. DOROTHEA (V.O.) That was my husband’s Ford Galaxy. We drove Jamie home from the hospital in that car. JAMIE (V.O.) VISUALS My mom was 40 when she had 1. BABY IN ISOLETTE me. Everyone told her she was too old to be a mother. DOROTHEA (V.O.) VISUALS I put my hand through the 2. DOROTHEA’S HAND OPENING little window, and he’d ISOLETTE WINDOW AND PUTTING squeeze my finger, and I’d HAND THROUGH 3. BABY’S tell him life was very big, FINGERS HOLDING HAND 4. STARS and unknown; IN SPACE JAMIE (V.O.) VISUALS And she told me that there 5. MUYBRIDGE FOOTAGE OF were animals and sky and ANIMALS 6. STILL OF THE SKY cities, 7. CITY FROM DOROTHEA’S ERA DOROTHEA (V.O.) VISUALS Music, movies. He’d fall in 8. BACK TO DOROTHEA’S HAND love, have his own children, OPENING ISOLETTE WINDOW AND have passions, have meaning, PUTTING HAND THROUGH 9. -
Et Tu, Dude? Humor and Philosophy in the Movies of Joel And
ET TU, DUDE? HUMOR AND PHILOSOPHY IN THE MOVIES OF JOEL AND ETHAN COEN A Report of a Senior Study by Geoffrey Bokuniewicz Major: Writing/Communication Maryville College Spring, 2014 Date approved ___________, by _____________________ Faculty Supervisor Date approved ___________, by _____________________ Division Chair Abstract This is a two-part senior thesis revolving around the works of the film writer/directors Joel and Ethan Coen. The first seven chapters deal with the humor and philosophy of the Coens according to formal theories of humor and deep explication of their cross-film themes. Though references are made to most of their films in the study, the five films studied most in-depth are Fargo, The Big Lebowski, No Country for Old Men, Burn After Reading, and A Serious Man. The study looks at common structures across both the Coens’ comedies and dramas and also how certain techniques make people laugh. Above all, this is a study on the production of humor through the lens of two very funny writers. This is also a launching pad for a prospective creative screenplay, and that is the focus of Chapter 8. In that chapter, there is a full treatment of a planned script as well as a significant portion of written script up until the first major plot point. iii TABLE OF CONTENTS Page Chapter - Introduction VII I The Pattern Recognition Theory of Humor in Burn After Reading 1 Explanation and Examples 1 Efficacy and How It Could Help Me 12 II Benign Violation Theory in The Big Lebowski and 16 No Country for Old Men Explanation and Examples -
Melvin Van Peebles Class of 1953
Distinguished Achievement Citation Melvin Van Peebles Class of 1953 Today, we recognize Melvin Van Peebles for his groundbreaking and prolific work in film, theatre, music and literature. After graduating from Ohio Wesleyan in 1953 with a degree in English, Mel served as a navigator and bombardier in the U.S. Air Force Strategic Air Command. He soon found his calling to be an artist, and began an accomplished career that spanned the arts—and often redefined them. After making the short films “Sunlight” and “Three Pick-Up Men for Herrick” while living in San Francisco, Mel moved to Holland and then France, where he was a crime reporter and began writing novels. He made his debut as a stage writer, lyricist and composer with “Harlem Party.” Mel is best known for his work in feature films. He first adapted his French novel “The Story of a Three-Day Pass” into a film, which he also directed. Upon returning to the United States, he directed and scored “Watermelon Man,” a sharp-edged comedy about a white bigot who wakes up black one day. In 1971, Mel independently produced, directed, wrote, scored and starred in the controversial film “Sweet Sweetback’s Bassdasssss Song.” Opening to mixed reviews, the film has grossed over $15 million, and established Melvin Van Peebles as a pioneer among black filmmakers. In addition to directing or starring in a number of movies in the 1980s and 1990s, most recently he directed “Identity Crisis,” acted in “Posse,” produced, scripted and appeared in “Panther,” wrote and starred in the documentary “Classified X,” and wrote and directed the French film “A Bellyful.” His Broadway musicals include Tony-award-nominated “Ain’t Supposed to Die a Natural Death,” “Don’t Play Us Cheap,” and “Waltz of the Stork.” His ventures into the music industry include the albums “Br’er Soul” and “Ghetto Gothic.” A CD titled “The Melvin Van Peebles Collection” was released in 1999. -
The Parallel Influences, Characteristics and Criticisms of the Blaxploitation Cinema and Gangsta Rap Movements Dustin Engels
Engels: Baadassss Gangstas: The Parallel Influences, Characteristics and JOURNAL OF HIP HOP STUDIES . Baadassss Gangstas: The Parallel Influences, Characteristics and Criticisms of the Blaxploitation Cinema and Gangsta Rap Movements Dustin Engels Abstract Serving as two of the most visible African American cultural movements, blaxploitation cinema and gangsta rap played essential roles in giving African American artists an outlet to establish a new black identity for mainstream audiences. After exploring the similarities between the cultural and economic conditions that spawned both movements, this essay examines the parallel techniques by which the preeminent entries in both genres established themselves as culturally relevant for African American audiences. These techniques included a reliance on place and space to establish authenticity, as well as employing African American myths and folklore such as the Signifying Monkey and the badman. By establishing themselves as mainstream representations of black identity, the harshest critics and staunchest defenders of both movements came from within the African American community, a clear indication of the important role each would play in establishing a new era of black representation in popular culture. In October 2012, New Orleans rapper Curren$y released a mixtape online for his fans entitled Priest Andretti. Taking its name from the main character of the 1972 blaxploitation film Super Fly, this fourteen-track mixtape frequently pays homage to the blaxploitation movement that occurred in the early 1970s by incorporating clips from Super Fly throughout, as well as including songs entitled “Max Julien” (star of the 1973 film The Mack) and “Cleopatra Jones” (title character of the 1973 film Cleopatra Jones). -
WEB Amherst Sp18.Pdf
ALSO INSIDE Winter–Spring How Catherine 2018 Newman ’90 wrote her way out of a certain kind of stuckness in her novel, and Amherst in her life. HIS BLACK HISTORY The unfinished story of Harold Wade Jr. ’68 XXIN THIS ISSUE: WINTER–SPRING 2018XX 20 30 36 His Black History Start Them Up In Them, We See Our Heartbeat THE STORY OF HAROLD YOUNG, AMHERST- WADE JR. ’68, AUTHOR OF EDUCATED FOR JULI BERWALD ’89, BLACK MEN OF AMHERST ENTREPRENEURS ARE JELLYFISH ARE A SOURCE OF AND NAMESAKE OF FINDING AND CREATING WONDER—AND A REMINDER AN ENDURING OPPORTUNITIES IN THE OF OUR ECOLOGICAL FELLOWSHIP PROGRAM RAPIDLY CHANGING RESPONSIBILITIES. BY KATHARINE CHINESE ECONOMY. INTERVIEW BY WHITTEMORE BY ANJIE ZHENG ’10 MARGARET STOHL ’89 42 Art For Everyone HOW 10 STUDENTS AND DOZENS OF VOTERS CHOSE THREE NEW WORKS FOR THE MEAD ART MUSEUM’S PERMANENT COLLECTION BY MARY ELIZABETH STRUNK Attorney, activist and author Junius Williams ’65 was the second Amherst alum to hold the fellowship named for Harold Wade Jr. ’68. Photograph by BETH PERKINS 2 “We aim to change the First Words reigning paradigm from Catherine Newman ’90 writes what she knows—and what she doesn’t. one of exploiting the 4 Amazon for its resources Voices to taking care of it.” Winning Olympic bronze, leaving Amherst to serve in Vietnam, using an X-ray generator and other Foster “Butch” Brown ’73, about his collaborative reminiscences from readers environmental work in the rainforest. PAGE 18 6 College Row XX ONLINE: AMHERST.EDU/MAGAZINE XX Support for fi rst-generation students, the physics of a Slinky, migration to News Video & Audio Montana and more Poet and activist Sonia Sanchez, In its interdisciplinary exploration 14 the fi rst African-American of the Trump Administration, an The Big Picture woman to serve on the Amherst Amherst course taught by Ilan A contest-winning photo faculty, returned to campus to Stavans held a Trump Point/ from snow-covered Kyoto give the keynote address at the Counterpoint Series featuring Dr. -
Sample Some of This
Sample Some Of This, Sample Some Of That (169) ✔ KEELY SMITH / I Wish You Love [Capitol (LP)] JEHST / Bluebells [Low Life (EP)] RAMSEY LEWIS TRIO / Concierto De Aranjuez [Cadet (LP)] THE COUP / The Liberation Of Lonzo Williams [Wild Pitch (12")] EYEDEA & ABILITIES / E&A Day [Epitaph (LP)] CEE-KNOWLEDGE f/ Sun Ra's Arkestra / Space Is The Place [Counterflow (12")] JOHN DANKWORTH & HIS ORCHESTRA / Bernie's Tune ("Off Duty", O.S.T.) [Fontana (LP)] COMMON & MARK THE 45 KING / Car Horn (Madlib remix) [Madlib (LP)] GANG STARR / All For Da Ca$h [Cooltempo/Noo Trybe (LP)] JOHN DANKWORTH & HIS ORCHESTRA / Theme From "Return From The Ashes", O.S.T. [RCA (LP)] 7 NOTAS 7 COLORES / Este Es Un Trabajo Para Mis… [La Madre (LP)] QUASIMOTO / Astronaut [Antidote (12")] DJ ROB SWIFT / The Age Of Television [Om (LP)] JOHN DANKWORTH & HIS ORCHESTRA / Look Stranger (From BBC-TV Series) [RCA (LP)] THE LARGE PROFESSOR & PETE ROCK / The Rap World [Big Beat/Atlantic (LP)] JOHN DANKWORTH & HIS ORCHESTRA / Two-Piece Flower [Montana (LP)] GANG STARR f/ Inspectah Deck / Above The Clouds [Noo Trybe (LP)] Sample Some Of This, Sample Some Of That (168) ✔ GABOR SZABO / Ziggidy Zag [Salvation (LP)] MAKEBA MOONCYCLE / Judgement Day [B.U.K.A. (12")] GABOR SZABO / The Look Of Love [Buddah (LP)] DIAMOND D & SADAT X f/ C-Low, Severe & K-Terrible / Feel It [H.O.L.A. (12")] GABOR SZABO / Love Theme From "Spartacus" [Blue Thumb (LP)] BLACK STAR f/ Weldon Irvine / Astronomy (8th Light) [Rawkus (LP)] GABOR SZABO / Sombrero Man [Blue Thumb (LP)] ACEYALONE / The Hunt [Project Blowed (LP)] GABOR SZABO / Gloomy Day [Mercury (LP)] HEADNODIC f/ The Procussions / The Drive [Tres (12")] GABOR SZABO / The Biz [Orpheum Musicwerks (LP)] GHETTO PHILHARMONIC / Something 2 Funk About [Tuff City (LP)] GABOR SZABO / Macho [Salvation (LP)] B.A.