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 ofBlack film. Ifyou're concerned about Black images in commercial film and tele­ vision, you already know that Hollywood does not reflect the multi- cultural nature 'ofcontemporary society. You know thatwhen Blacks are not absent they are confined to predictable, one-dimensional roles. You may argue that movies and television shape our reality or that they simply reflect that reality. In any case, no one can deny the need to take a closer look atwhat is COIning out of this powerful medium. Black Film Review is the forum you've been looking for. Four times a year, we bringyou film criticiSIn froIn a Black perspective. We look behind the surface and challenge ordinary assurnptiorls about the Black image. We feature actors all.d actresses th t go agaul.st the graill., all.d we fill you Ul. Oll. the rich history ofBlacks Ul. Arnericall. filrnrnakul.g - a history thatgoes back to 19101 And, Black Film Review is the only magazine that bringsyou news, reviews and in-deptll interviews frOtn tlle tnost vibrant tnovetnent in contelllporary film. You know about Spike Lee butwIlat about EuzIlan Palcy or lsaacJulien? Souletnayne Cisse or CIl.arles Burnette? Tllrougll­ out tIle African cliaspora, Black fi1rnInakers are giving us alternatives to tlle static itnages tIlat are proeluceel in Hollywood anel giving birtll to a wIlole new cinetna...be tIlere! Interview:- ----------- --- - - - - - - 4 VDL.G NO.2 by Pat Aufderheide Malian filmmaker Cheikh Oumar Sissoko discusses his latest film, Finzan, aself­ conscious experiment in storytelling 2 2 E e Street, NW as ing on, DC 20006 MO· BETTER BLUES 2 2 466-2753 The Music 6 o by Eugene Holley, Jr. acquie Jones TheMan------------------- 8 istant Editors by Lett Proctor D. Kamili Anderson TheMovie 12 Peter J. Harris by Kalamu ya Salaam Consulting Editor Tony Gittens ( lack Film Institute) How to Make Trouble ---------------- 14 sociate Editor/Film Critic by Jacquie Jones Arthu r Johnson The recent Canadian release, How to Make Love to aNegro Without Getting Tired, sociate Editors has stirred up some trouble in the US-but for the wrong reasons Pat Aufderheide Roy Campanella, II Victoria M. Marshall What's New in the Cinema of Senegal __________ 16 Mark A. Reid by Francoise Pfaff Mi riam Rosen Saundra Sharp Filmmakers Mousa Bathily and Cheikh Ngaido Bah discuss their latest projects and Clyde Taylor movie-making in Senegal today Art Director/Graphic Designer Davie Smith FEATURES Advertising Director The Market: ------------------ 24 Sheila Reid Shopping for Images Editorial Interns Nicole Dickens by Victoria Marshall Kayhan Parsi The American Film Market Founding Editor David Nicholson Books: -------------------- 26 1985 - 1989 No Identity Crisis by John Williams Black Film Ravie (ISSN 0887-5723) is published Melvin and Mario Van Peebles' new making-of-the-film book four times a year by Sojourner Productions, Inc., a non-profit corporation organized and incorporated in the District of Columbia. This issue is co-pro­ Film Clips: ------------------- 2 duced with the Black Film Institute of the University of the District of Columbia. Subscriptions are $12 PBS Goes to Sundance, Gunn Tribute at the Whitney, and more per year for individuals, $24 peryearfor institutions. Add $10 per year for overseas subscriptions. Sub­ Reviews:_ ---- ~ -------------- 20 scription requests ,and correspondence should be sent to P.O. Box 18665, Washington, D.C. 20036. Def by Temptation, Bal Poussiere and Without You I'm Nothing Send all other correspondence and submissions to the above address; submissions must include a Calendar ___ 32 stamped, self-addressed envelope. No part of this publication may be reproduced without written consent of the publisher. Logo and contents copy­ Classifieds --- 33 right (c) Sojourner Productions, Inc., 1990, and in the name of individual contributors. Black Film Review welcomes submissions from writers, but we prefer that you first query. with a letter. All unsolicited manuscripts must be accom­ panied by a stamped, self-addressed ~nvelope. 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, N.Y. 10003. HOW TO MAKE This issue of Black Film Review was produced with TROUBLE the assistance of grants from the D.C. Commission on the Arts and Humaniti.es, the National Endow­ ment for the Arts, and the John D. and Catherine T. MacArthur Foundation. ,14 PBS GOES TO F i I m eli p s gram included an after­ SUNDANCE ••••• noon-long "walkabout," in by Ellen Hoffman which participants were able to schedule brief ap­ The majestic snow­ pointments to discuss pro­ dusted Rockies and rustic posals for funding, produc­ cabins, screening room tion and distribution oppor­ and rehearsal hall of the action pictures." DePasse sessions, participants tunities for their projects Sundance Institute in Utah garnered a burst of ap­ alluded to the difficulty of with representatives of provided a serene setting plause when she asserted: convincing white television PBS, some Hollywood for an animated, provoca­ "Some day a Black is going decision-makers to air studios, foundations and tive conference of 100 to write a mainstream programs about minority the British Broadcasting minority women in the white commercial picture." figures or issues. One Corp. media in May. Another major discus­ conference participant The screening schedule It was designed to bring sion theme was the reported the difficulty of included "Family Gather­ women of color who are definition of such "multi­ convincing white television ing," Lise Yasui's attempt practicing filmmakers into cultural programming" and decision-makers that Miles to understand her Japa­ contact with leading the challenge of delivering Davis was an appropriate nese relatives' internment producers, directors and it to the public television subject for a television in camps in the U.S. during writers, both to discuss audience. Jennifer Lawson, show. World War II; Jude Pauline professional issues and to executive vice president for "When minority produc­ Eberhard's "Break of encourage connections that National Programming and ers have to deal with Dawn," about a Spanish­ could result in funding, Promotion Services at PBS, producers and executives language radio and record­ production and distribution defined multi-cultural who are non-minority, the ing star who protests the of their films. programming as by and burden is put on us to anti-Mexican policies of the For two-and-a-half days, about ethnic, racial and convince (them) that this U.S. government during invited participants at­ regional groups, but geared part of our culture is valid," the Depression; and Julie tended panel discussions to a general audience for observed Gail Christian, in­ Dash's forthcoming and presentations, a "walk­ the prime time schedule. dependent producer, "Daughters of the Dust." about" networking session, Mercedes de Uriarte, an former PBS official and Question-and-answer and screenings and discus­ assistant professor of conference co-director. To sessions with producers sions with women of color journalism at the University illustrate, she suggested. followed. about the films they have of Texas, warned against a turning the tables, imagin­ Yvonne Smith's "Adam produced. "vegetable soup" approach ing a situation in which the Clayton Powell," an Euzhan Palcy, director of to programming, one that decision-makers were all episode in PBS's series, A Dry White Season, and would dilute representation Black and a white "The American Experi­ Suzanne DePasse, presi­ of each ethnic or racial filmmaker "came in with a ence," provoked dent of Motown Produc­ group's uniqueness. She program on Pavarotti and tions, confronted the issue cited statistics showing we all said: 'Who's of how much afilmmaker that 76.5 percent of Pavarotti?' challenging must compromise in order television news directors the producer to to attain success in Holly­ are white males; 15.6 defend the wood. Palcy recounted the percent white females; 5 proposal. fight-which she ultimately percent black males; 3 To facilitate won-to make "A Dry percent Hispanic males; networking White Season" the story of 1.3 percent black females between the a Black family as well as and 1 percent Latinas. She filmmakers and that of a white one. suggested that placing the decision­ DePasse suggested that more people of color in makers, the pro- "a hot script is the way to such decision-making break into Hollywood." She positions is a condition of JennfferLawson, execu­ added that "right now, it achieving more truly multi­ tive vice president, Na­ happens (that Hollywood is tional Programming and cultural programming. Promotion Services Public looking for) white male In other conference Broadcasting Service 2 the most spirited discus- his play, the Forbidden novel, and collaborated maybe two, African Ameri- sion, including criticism City, starring Gloria Foster. with the late Kathleen can producers. These from viewers who felt that Gunn died last year of en- Collins on Losing Ground, become their 'in-house' the film did not focus cephalitis. in which he starred, and minorities. They proudly enough on the role of Curated by author Women, Sisters and showcase the one African racism in contributing to Ishmael Reed, the pub- Friends. (See Black Film American in residence and the late congressman's lisher of Gunn's second Review: Vol 5, No.2) expect to be congratulated. downfall. novel, Rhinestone Share- -John Williams There are far too many The screenings also cropping (1981), and his imaginative producers afforded the opportunity to award-winning play, Black NAACP BLASTS available for the studios. to discuss technical issues Picture Show (1975), the STUDIOS FOR limit the numbers they such as the use of anima- tribute was a once-in-a- hire." tion and video techniques lifetime event reuniting "TOK8IISM" Disney was the only and musical scores.