Co-produced with the Black Film Institute of the University of the District of Columbia $4.00 e BlackFilin liJUI!IDU~ From L.A. to London and Martinique to Mali. We bring you the world ofBlack film. Ifyou're concerned about Black images in commercial film and television, you already know that Hollywood does not reflect the multicultural nature ofcontemporary society. You know that when 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 at what is coming out ofthis powerful medium. ~ Black Film Review is the forum you've been looking for. Four times a year, we bring you film criticism from a Black perspective. We look behind the surface and challenge ordinary assumptions about the Black image. We feature actors and actresses that go against the grain and fill you in on the rich history ofBlacks in American filmmaking--a history that goes back to 1910! And, Black Film Review is the only magazine that brings you news, reviews and in-depth interviews from the most vibrant movement in contemporary film. You know about Spike Lee but what about Euzhan Paley or Julie Dash? Charles Burnett or Soulemayne Cisse? Through­ out the Mrican diaspora, Black filmmakers are giving us alternatives to the images produced in Hollywood and giving birth to a whole new cinema...be there! Contents 4 Interview BY ELIZABETH JACKSON Veteran filmmaker Michael Schultz talks about his career and the changes that have taken place in Hollywood since 1974, when he directed hisfirstfilm, ~Cooley High. 6 Co Black Macho & The Myth ofthe Positive Message To ) BY KAiAMu YA SAlAAM (BI The not-so-subtle subtexts ofmost contemporary Hollywoodfilms dir~ctedby African American A males revel in celluloid crouch-grabbing. A 10 OfMany One: The Hybrid State Films BY LAURA u. MARKs A newfilm series curated by Coco Fusco introduces t:(hybridity, "an unsettling notion. 12 Prime Time BY Roy CAMPANELlA II Brett King, director oftelevision for QuincyJones Entertainment, discusses the ins andouts behind the small screen. Fou di g Editor Da· . icholson 1985-1989 20 Mississippi Masala lHac Film Review (ISSN 0887-5723) is published tour imes -a year by Sojourner Productions, Inc., a by Tej Hazarika non-profit -corporation organized and incorporated Salaam Bombay! director Mira Nair takes on Greenwood,.Mississippi. In the District of Columbia. This is co-produced with the Biack Fi1m Institute of the University of the District of Columbia. Subscriptions are $12 per year for individuals, $24 per year ~for institutions. Add 22 $10 per year for overse~s subscriptions. Subscrip­ tion requests arrd correspondence should be sent to Reportfi-om FESPACO PO Box 18665 Washington, DC 2-0036. Send all BY MANrHIA DIAWARA o her correspondence and submissions to the above address~ submissions must include a stamped, self­ As African cinema struggles with the politics ofrepresentation; two models' emerge. addressed envelope. No part of this publication may be reproduced without wr1tten consent of the publisher. Logo and contents copyright Sojourner Productions Inc., and in the name of individual 2 contributors. Film Clips Black Film Review welcomes submissi-ons form Otis Sallid, Prized Pieces and more. writers, but we prefer that you first query with a letter. All solicited manuscripts must b~e accompa­ nied by a stamped, self-addressed envelope. We are no responsible for unsolicited manuscripts. Black 28 Fi Review ~has signed a code of practices with the ational Writers Union, 13 Astor Place, 7th Floor, Reviews e York, NY 10003. The Body Beautiful, Hangin' with the Homeboys. T is issue of Black Film Review was produced with h a s·s ance of grants from The Academy of ~1 . ic ure Arts and Sciences Foundation, the ission on the Arts and Humanities, the o ment for the Arts and the John D. C;kndar . eT. MacArthur Foundat~on. FILM CLIPS DANCE: SAUID sm1: eventually became director ofhis Bridge). Though his goal is to pmZEO PIEl1:S by ArthurJohnson own dance company, New Art direct a musical film, the multi­ Ensemble, in the '70s, which talented choreographer!director is honed the dancing skills of still "looking for a project" which Noted independent filmmakers today's super-talents such as While taking a break from will allow him to use his Julie Dash, Roy Campanella II choreographing a scene from choreographer Michael Peters directorial talents at full blast. and Camille Billops were among Spike Lee's upcoming feature (Beat It, Dream Girls, Thriller), "I've sent some scripts back this year's National Black Malcolm X Otis Sallid discusses because the project has to be Programming Consortium's his technique. "I see choreogra­ right, or I'd rather go back to "Prized Pieces" award-winners. phy every day; so the dances are being a choreographer. I'm not Dash took awards in three camera-ready when the director interested in doing Boyz N the categories, including the Best sees them," Sallid explains. "I give Hood or NewJack movies. I want Independent Producer award and directors the opportunity to have to do topical films, musicals, the Oscar Micheaux Award for the first vision. Then, I say how dramas and special-effect films." her career achievements. I'd do it. I offer them as many In the meantime, he's busy Daughters ofthe Dust, Dash's options as possible." shooting another Tide commer­ soon-to-be-released feature film Sallid is enjoying the cial, this time with Black set in the South Carolina Sea challenge ofchoreographing "one Choreographer Otis Sallid Olympic gymnast Betty Okino, Islands at the turn ofthe century, and hoping to get a green light ofthe smaller moments in the jazz dancer Hinton Battle and won in the Best Drama category. for his dream project, The movie" when Malcolm X, then Debbie Allen. Allen later Daughters ofthe Dustwill be Human City. "It's a musical for Detroit Red, goes to New York's beckoned him to Los Angles to released by Kino International in the '90s," Sallid explains. "I will Savoy Ballroom during the lindy assist her with the television show January. try to take it to Broadway, then hop craze ofthe '40s. In selecting "Fame." Campanella's Brother to film. Most musicals that were dancers for the sequence, Sallid "I went to MGM where Future, which. tells the story ofan great had a Broadway life," he searched for performers who 'Fame' was filmed and all the inner-city Detroit teenager who adds. "looked real" and not necessarily great old movie musicals had Sallid has choreographed the like dancers. "I was looking at the been done, and Debbie taught Grammy Awards and has done attitudes ofthe dancers and the me film," he recalls warmly. work for Richard Pryor, Rod conking ofthe hair. The jitterbug Directing commercials followed, Stewart, Herbie Hancock and is one ofthe perfect dances, a including a Tide commercial Patti Labelle. And ifthat's not classic dance, and you can't do it featuring the Dance Theatre of enough, Sallid also wrote the any better," he says. Harlem. Next came music theme song from the popular From his days as a dancer in videos, such as Phyllis Hyman's television show, Showtime at the Broadway's The Wiz, Purlieand "I Don't Want to Change the Apollo. Two Gentlemen ofVerona, Sallid World." segued into choreography and In addition to Lee, with ArthurJohnson is apublished whom he worked previously on fiction writer andaproduced School Daze and Do the Right playwright. Thing, Sallid has also worked with directors Bill Duke (A Rage in Harlem) and Prince (Graffiti Carl Lumbly as Denmark Vesey in Roy Campanella, II's Brother Future. 2 tra - to the year Presenting awards at this in Ricochet, will play an urban e experiences the year's ceremony were NBC crime boss with Ice Cube, who .L'-<..L...L.L\.-L',,",,-, of la ery, won in television stars Malcolm Jamal starred in Boyz N The Hood, as o . Brother Future Warner ("The Cosby Show") his would-be successor. The ed on videocassette and Janet Hubert Whitten ("The screenplay was written by Robert m b HomeVision. Fresh Prince OfBel Air"). Zemeckis (Back to the Future) op Finding Christa, co- The National Black and Bob Gale, who are the film's pra d b James Hatch, is the Programming Consortium executive producers. Eddie akers own moving story of (NBPC) presents the "Prize Murphy's first hit, 48 Hrs. is b' g a new relationship with Pieces" competition each fall to among the numerous features a cia o-hter whom she gave up for honor the artistry and contribu­ Walter Hill has directe.d. The ado tion over twenty years tions offilmmakers who produce Looters recently completed ear 'ere Finding Christa was quality Black programming. principal photography. named Best Docu-Drama. Many past winners have received Other award winners were: airplay on PBS stations. BPC MURPHY TEAMS WI11I B" Jackson for the historical also maintains the largest ideo llUDLlNS documental} Didn t e Rdmble library in the idwest of On; Ton Co es and Lon programs relevant to Black Trammel or the' rural audiences. NBPC is located at Principal photography has begun affair documentary Fade To 929 Harrison Ave., Suite 104, in New York City for Paramount Black, Ellen Soiro for the public Columbus, OH 43215. Pictures' Boomerang, starring affairs documentary DiAnas (614)299-5355. For information Eddie Murphy. Reginald Hudlin Hair Ego: Aids Info Up Front, about Daughters ofthe Dust, call will direct and Warrington The Nigerian Television (212)841-0950.