Happy Black History Month! I thought I'd challenge myself to create a black moving-image related post (as if I have nothing else to do) in order to restart my blog and to warm you and myself up for something new:
Black Leader: Guiding Film Through Projectors Over Centuries.
So, I'm a day late but I did put up the image yesterday...emoji-smile!
Image: Ina diane Archer, "Frames from The Lincoln Film Conspiracy" (2009) digital collage.
I'm thinking back to my old minstrelsy and passing days --not when I used to pass as a minstrel--but when those issues were the explicit focus of my work going all the way back to RISD.
And thinking about the world of movies of course. Let's see; Actor Herb Jeffries lived his life as a black man and acted in black cast movies...Al Jolson had an autobiographical belief that he actually had a black mammy down home somewhere. And then there's Quentin Tarentino...Zelig and Chameleon Man, Black Like Me, Soul Man and Gentleman's Agreement all come to mind.
So, for a limited time (about a week) and for your viewing pleasure I am posting my video 1/16th of 100%?!
Let me know what you think!
1/16th of 100%!?, video (23 minutes) Writer, director, editor 1993/96
Montage that examines themes of appropriation, miscegenation and minstrelsy through manipulating footage found in Hollywood movies from the 1920s through the 1950s-- including Imitation of Life, Showboat and The Jazz Singer.
Here's what I'll read tonight in case you can't make it! (And I will post my complete program notes later.)
The Vitaphone Studios, a division of Warner Bros, located in Brooklyn, NY, was a prolific producer of short films during the transition to sound starting as early as 1926. Vitaphone technology was a sound-on-disk process where audio was recorded separately onto 16” wax records during filming and synchronized mechanically with the projected footage. The films, many of which were preserved by UCLA, are a record of popular entertainment of the period and they include many ethnic and black themed acts (including, famously, Al Jolson’s pre-Jazz Singer short A Plantation Act), blackface and black-voiced minstrel shows, as well as all black-cast shorts subjects.
A uniquely arty or ART-FULL Vitaphone musical short, Yamecraw: A Negro Rhapsody is based on a symphonic jazz composition by African-American composer, and pioneer of stride piano, James P. Johnson (famous for writing “The Charleston” and other popular tunes of the era) and is reminiscent of Gershwin's Rhapsody in Blue.
(You can listen to a recording posted above. There's a link to the film but the copy is terrible)
A brief “African-American tone poem”, the scenario is similar to that of King Vidor’s Hallelujah. A young man seeking fortune in the city is distracted by urban excitements and tempted by a city woman, only to be crushed by it all. Chastised, he returns, welcomed back home by his devoted wife, to his family’s rural shack. Yamecraw, despite the racist signifiers of this period of cinema -- like watermelons, cotton-picking, and mammies -- is an imaginative and concise presentation of a black migration narrative aided by the restrained performances of the actors that mixes operatic, modernist and folk expression.
Native Son (1951), the first of two movie versions of Richard Wrights’acclaimed 1940 novel, is an odd but compelling international hybrid. It was helmed by a French director, Pierre Chenal, shot in Buenos Aires and, fascinatingly, cast with the middle-aged, African-American author, Richard Wright, playing his 25 year old protagonist, Bigger Thomas. (For a treat look up Wright’s screen tests on youtube)
A NoirCity Magazine interview with scholar Edgardo Krebs, notes that Chenal first wanted to cast Canada Lee, who turned down the role, after which he considered Wright:
“…Chenal posed the question: would you consider playing Bigger Thomas? Wright laughed and responded “But man, I am no actor!” Chenal insisted. “You do not need to pretend to be one,” he said, “just live Bigger’s nightmare.”
Bigger’s nightmare --violently portrayed in both the novel and the adapted film--was that of many post-migration African-Americans and each begins with Bigger and his family already trapped by brutal poverty in a racially segregated city.
Towards the finale of Native Son in true noir fashion, Bigger recounts his dream of escaping imprisonment and his ensuing execution by fleeing the impoverished Chicago streets back to his southern home, a rickety cabin shown floating in a surrealistically designed cotton field. This fantasy, which quickly transfigures into a grim hallucination, initially resembles the strange, pastoral landscape seen in Yamekraw and might suggest that Bigger's unconscious has been influenced by the imagery he has absorbed as a black movie-goer.
By showing two films by white directors adapting works by black artists, in tandem, I hope to demonstrate the duality of black migration narratives and of “home” pictured through generic (and sometimes problematic) film images; first a musical short with a heavenly, happy ending followed by a racially charged thriller, where “return” can only be attained through death.
As Bigger intuits describing his dream:
“All around me everything was white. I was back in the farm where I used to live when I was a boy. I felt free. I wasn’t scared no more… I was back home again.”
program notes written by ina archer
YAMECRAW (1930) Warner Bros. (as The Vitaphone Corporation). DISTRIBUTED BY: Warner Bros. (1930) (USA). DIRECTED BY: Murray Roth. STORY: Stanley Rauh. MUSIC BY James P. Johnson (initially uncredited) and Hugo Mariani (musical score). PHOTOGRAPHY: E.B. DuPar. ART DIRECTION: Manuel Osman.
NATIVE SON (1951) Argentina Sono Film S.A.C.I. DISTRIBUTED BY: Argentina Sono Film S.A.C.I. (1951) (Argentina), Classic Pictures (1951) (USA). PRODUCED BY: Walter Gould, Jaime Prades. DIRECTED BY: Pierre Chenal. SCREENPLAY: Pierre Chenal, Richard Wright (novel). PHOTOGRAPHY: Antonio Merayo. FILM EDITOR: Jorge Gárate. MUSIC: Juan Ehlert (as John Ehlert). SET DECORATION BY: Gori Muñoz. COSTUME DESIGN BY: Eduardo Lerchundi. CAST: Richard Wright (Bigger Thomas), Gloria Madison (Bessie Mears), Willa Pearl Curtis (Mrs. Hannah Thomas), Jean Wallace (Mary Dalton), Charles Cane (Det. Britten). FORMAT: 35mm. RUNNING TIME: 90 minutes. ORIGINAL RELEASE: Italy 1951 (Venice Film Festival). Argentina, March 2, 1951. USA, June 16, 1951 (New York City, New York)
Among the more quietly galling aspects of Fruitvale Station is the pervasive sense that, shorn of its tragic narrative bookends, it would still make a fine, and all too rare, slice of black-focused, low-key drama in its own right. The keen observation and laidback aesthetic of its opening hour recall Charles Burnett’s wry My Brother’s Wedding (1983).
Respectfully considering the events unfolding in Ferguson, MO, in response to the shooting of Michael Brown (as well as the investigation of the death of Eric Garner in New York) I'm posting what I feel is an exceptionally sensitive review of Ryan Coogler’s Fruitvale Station (2013) written by Ashley Clark. Back and forth over cinema might seem unimportant in comparison to the graphic realities of death, grief, injustice and upheaval unfolding on TV and via cellphone imagery. But I was reminded by the happenstance of reading the article (with CNN talking autopsies in the background) about the difficulty with, resistance to, or refusal of identification by white audiences with black protagonist in films--whether conscious or unconscious--which James Baldwin addresses in "The Devil Finds Work".
I guess what I'm thinking rather awkwardly, is that if white viewers, readers, and consumers of stories were compelled to participate in the activity of suspension of disbelief in order to identify with black stories and characters-- projecting themselves freely in works of popular culture by artists and producers of color, then wouldn't it follow that white people would by able to imagine and regard "the Black" as Baldwin puts it, as fully human in real life? To regard the Other instead as young guys--teenagers--kids from around the neighborhood, a brother, daughter or a sister or a son.
I mean it's a whole longer project for me and it's always been my project, of course whether I call it representation or inclusion or whatever. I'm never very explicit here or on FB because I use these platforms primarily to entertain. But I watch "white" movies all the time...lots of black people do--there are not huge options (a problem suggested in the review) right—? And so, the ability and the pleasure of projecting oneself into stories or characters isn't a really an issue. We just do it--so what is the problem?
“The root of the white man’s hatred [for black men] is terror, a bottomless and nameless terror, which focuses on the black, surfacing, and concentrating on this dread figure, an entity which lives only in his mind.”
I wish this trailer was more reflective of the material between the bookends...
Video: 16mm reshot youtube video scratched emulsion transferred to digital vide
Dark Skin single channel video/sound
rt: 3min 17 sec (2014)
"The video editing happened on a collection of devices, including: my work computer (Audacity), a friend's laptop (Audacity), Nook (research and poor attempt at downloading an editing app), my iPhone (imovie, dropbox), and a few open source file converters on a couple of the computers."
A Willing Suspension of Disbelief, 2014
Single channel loop
3 min. 11 sec. 18 frames
24 fps, black and white 16mm film with sound transferred to digital video.
“Funding support provided by the College of Arts & Humanities, the Office of the Provost, and the Office of Research and Commercialization at the University of Central Florida.”
"Support provided by the Film/Video Studio Program at the Wexner Center for the Arts."
I'm thrilled to be included in this wonderful project and am So excited for the Red Carpet event TONITE! I'll be on the panel starting 7pm!
"All summer long Harlem neighbors have been checking out, commenting on, AND RATING the independent video works of 32 super
fly contributing artists of
The People's Laundromat Theater... NOW the
time has come for the Grand Finale, a Red Carpet style party and
screening where EVERYONE is a V.I.P.!"
(bring it Playa!)
-Taste by SheChef -Sounds by DJ NessDigital -VIP Style by Sureme -Swag by the PLT community
-And Top Rated video works as judged by community visitors to the Clean
Rite Center Laundromat on Lenox & 129th and The Schomburg Center
for Black Culture and Research
Red Carpet Begins at 5, culinary delights and gourmet movie snacks, and Live DJ til 7--
Screening program begins at 7pm sharp.
The Q&A portion will include a panel of the below individuals, co MC’d/moderated by Shani Peters and Petrushka from The LP.
Ariel Jackson, Contributing Artists, Project Editor/Assistant Ina Archer, Contributing Artist, Film reviewer and preservation advocate Ivan Forde, Contributing Artist, Neighbor Robin Cedeno, Neighborhood Participant
The People's Laundromat Theater is a 2013 Create Change project by
Harlem Public Arts Resident Shani Peters. Create Change is developed
and supported by The Laundromat Project, a public arts organization. http://laundromatproject.org/create-change.htm