October is Black History Month!



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October is Black History Month!

In celebration of Black History Month, the University is holding a 'Film Marathon', offering staff and students the chance to see three fantastic films (for a fabulous £3 for all three - or just see the one you want). This is organised in partnership between the Black and Minority Ethnic (BME) Staff Network, the Professional Development Unit and Student 'Silver Screen Society'. Details of times, locations, film titles and reviews are below. Tickets can be bought on the day, or online through the Silver Screen Society.

If you'd like any further details please contact Kathy in the Professional Development Unit at Katharine.Carter@nottingham.ac.uk (tel 0115 84 66773)

 

Date: Saturday 20th October



Location: Keighton Auditorium, University Park (opposite the main visitor car park on Cut Through Lane)

Films and times:

1.30pm Sing Your Song (runtime 104 minutes, Certificate 12A)

3.45pm Marley (run time 145 mins, Certificate 15)

7pm Malcolm X (run time 202 mins, Certificate 15)

 

Film Reviews



Sing Your Song (from Philip French, The Observer 10th June 2012)

This is a skilfully compiled celebratory biography of Harry Belafonte. He was born into poverty in Harlem in 1927, raised in his father's native Jamaica, and after serving at sea in the US navy at the end of the second world war, he worked as a janitor before being drawn into the theatre. From the late 1940s on he was primarily a singer, becoming sensationally successful in the 1950s as the "King of Calypso".

This excellent film, eloquently narrated by its octogenarian subject in that wonderfully husky voice, carefully balances an account of his career in showbusiness with his 50-year commitment to civil and human rights in America and around the world, not just for fellow African-Americans but for Native Americans, Hispanics and people throughout Africa. The two aspects are of course closely interwoven, for he has courageously used his popularity and his charismatic presence to challenge the colour bar in the media, to attract attention to causes he believes in and to recruit his fellow performers to lend their support. The film's title, which reflects the way his life is integrated, comes from a piece of advice his hero Paul Robeson gave the young Belafonte when he dropped in at a folk music club where Harry was performing. "Get them to sing your song," Robeson said, "and they'll want to know who you are." For the most part Belafonte appears to use his power and influence wisely and well, and he emerges at the end as a man of bravery and probity, a formidable contributor and witness to his times.

 

Marley (from Philip French, The Observer 22 April 2012)

His new film, a cinebiography of Bob Marley is the story of a man who lived an extraordinarily full yet oddly mysterious life and died a world figure 30 years ago, shortly after reaching the age of 36. It is, however, told without any reconstructions or impersonations and neither Sidney Poitier nor Morgan Freeman was called in to deliver a rousing commentary explaining the man's contradictions, achievements and significance.

The picture begins in West Africa at an old fortress on the Gold Coast (now Ghana). Through its "Door of No Return" leading to the sea passed many of the millions of shackled slaves who were shipped across the Atlantic. This was the journey made by his ancestors that shaped Marley's life, identity and music and the belief system that drew them together.

He was born in the remote Jamaican village of Nine Mile in 1945 and Macdonald takes us there in a lyrical aerial shot across the steep, wooded hill country. His mother, Cedella, was black and 16. His father, Norval Marley, a white man aged 65, was employed by the forestry commission to prevent the theft of timber. He rode around the countryside like a seigneurial Cossack and styled himself Captain, though there's no evidence he'd held any commissioned rank or served in any war. In the only known photo of Norval, he's on horseback attempting to look authoritative and his family refused to recognise Bob when he once called on them for help.

Macdonald sees Bob as a man who felt rejected by both the black and the white communities, an outsider who was to find a symbolic home in Africa through embracing Rastafarianism, a style of personal independence and social defiance, and a mission to bring people together in a grand international, inter-racial brotherhood.

Marley grew up in extreme poverty, first in the countryside, then in the slums of Kingston's Trenchtown, where the first photograph of him was taken at the age of 12. The documentation of the early life is thin, but Macdonald is able throughout to draw on the colourful testimony of his formidable mother, his friends, fellow musicians, a variety of female companions (Marley had nine or 10 children by six or seven different women) and later some businessmen, politicians and gangsters.

There are splendid anecdotes about survival, about Bob and his band, the Wailers, developing a new kind of music that fused local and international forms into a distinctive form of reggae, and the zig-zagging of a career that took Marley to the United States, where his mother had relocated, to Europe and to Africa. Much of what we hear from Jamaican witnesses is spoken in a beguiling, if sometimes obscure, patois and there are the kind of contradictions in the individual assessments of his character and the accounts of the fraught progress of the Wailers that one would expect. This is Rashomon territory.

But there are compromises and concessions of a different kind that have come about through the need to secure interviews, musical rights and other necessary forms of co-operation. These are reflected in the names of several family members and various close business associates listed in the credits as producers. Some of these people provide the finest testimony. Among them are Bob's Cuban-born wife Rita, who worked in his backing group and recalls seeing stigmata on Haile Selassie's hand during his triumphant visit to Jamaica; Bob's three children by her (Cedella, Ziggy and Stephen); the beautiful, spirited Cindy Breakspeare, his trophy companion and former Miss World who bore him a child but refused to embrace Rastafarianism; and the laidback British impresario Chris Blackwell of Island Records.

If Marley ultimately remains something of a mystery (he gave few interviews and in none was particularly forthcoming), we nevertheless get a vivid impression of a career that included a brief stint on a Chrysler production line in Delaware, a long period of apprenticeship as a composer (initially working with homemade instruments) and a rise to local and international stardom. Gradually, the dreadlocks, the music and the cloud of ganja smoke come together to form as recognisable an image as that of the equally short-lived Che Guevara.

He was, however, altogether less militant than Che, virtually apolitical, which did not prevent competing forces seeking his allegiance or seeing him as a valuable symbol for their causes. In 1976, an assassination attempt in Jamaica drove him into exile. It wasn't, however, a bullet that did for him but the stud of a boot during a game of his beloved football in a London park, triggering the melanoma in his foot that eventually consumed his body.

We hear of a beautiful moment in a wintry Bavarian clinic where Bob's mother read the Book of Job to the emaciated singer, his dreadlocks lost to chemotherapy, shortly before he flew across the Atlantic to die in Miami in May 1981.

Perhaps this impressive, thoughtful portrait should have ended there. Instead, it concludes with a succession of Marley's hits being sung in a various languages by cheerful young people on every continent. That's all a little too "I'd Like to Teach the World to Sing" Coca-Cola-ish for my tastes.

Malcolm X (Wikipedia)

Malcolm X is a 1992 American biographical motion picture about the African-American figure Malcolm X (born Malcolm Little) co-written, co-produced, and directed by Spike Lee. It stars Denzel Washington, Angela Bassett, Albert Hall,Al Freeman Jr, andDelroy Lindo. Black Panther Partyy co-founder Bobby Seale, the Rev. Al Sharpton, and future South Africa president Nelson Mandela have cameo appearances. Spike Lee has a small role as Shorty, a character based partially on a real-life acquaintance, Malcolm "Shorty" Jarvis, a fellow criminal and jazz trumpeter.

The film dramatizes key events in Malcolm X's life: his criminal career, his incarceration, his conversion to Islam, his ministry as a member of the Nation of Islam and his later falling out with the organization, his marriage to Betty X, his pilgrimage to Mecca and reevaluation of his views concerning whites, and his assassination on February 21, 1965. Defining childhood incidents, including his father's death, his mother's mental illness, and his experiences with racism are dramatized inf flashbacks.



Malcolm X's screenplay, co-credited to Lee and Arnold Perl, is based largely on Alex Haley's 1965 book, The Autobiography of Malcolm X. Haley collaborated with Malcolm X on the book beginning in 1963 and completed it after Malcolm X's death.

Malcolm X was distributed by Warner Bros. and released on November 18, 1992. Denzel Washington won the New York Film Critics Circle Award for Best Actor and was nominated for an Academy Award Best Actor. In 2010, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".


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