Amoeblog

?Silencio! - The Hispanic & Latino experience in the silent era

Posted by Eric Brightwell, September 19, 2009 02:26pm | Post a Comment
Like other minorities in Hollywood (e.g. Asians, blacks, gays, Natives and women, to name a few), Hispanics and Latinos in the silent film era were almost exclusively produced by people who had little or no first hand experience of their subjects. But whilst Latinos may've been almost entirely excluded from the filmmaking process, a handful of actors found work in front of the camera and in the process opened doors for the generations that followed.

In film's first decade, a few Latinos in fact were involved in American filmmaking. Before the Hollywood era, the filmmaking process wasn't centralized and films were shot around the country by wealthy entrepreneurs, a few of which were Hispanic. However, most American films in the 1890s were under ten minutes long and tended to focus on single actions like sneezing, laughing or opening a door.

Though film roles in the 1890s tended to avoid any minority issues, there were a few minorities in film. In 1903, the first version of Uncle Tom's Cabin hit the screen and went on to be the most frequently adapted story in the silent era, suggesting that there was at least concern about black issues, if not other minorities. In the teens, with films like A Woman Scorned, The Squaw Man, Intolerance and The Italian, depictions of minorities broadened considerably.


America Gets a Post-Racial: The Legacy of Lee Atwater

Posted by Charles Reece, August 30, 2009 10:03am | Post a Comment
The latest issue of The London Review of Books has an excellent essay, "What Matters," by Walter Benn Michaels (author of The Trouble with Diversity). In analyzing the recent arrest of Harvard professor Henry Louis Gates, Michaels answers my fellow blogger Eric's question of "who's black?" with another, more telling question: "who's poor?." To wit:

Gates, as one of his Harvard colleagues said, is ‘a famous, wealthy and important black man’, a point Gates himself tried to make to the arresting officer – the way he put it was: ‘You don’t know who you’re messing with.’ But, despite the helpful hint, the cop failed to recognise an essential truth about neoliberal America: it’s no longer enough to kowtow to rich white people; now you have to kowtow to rich black people too.

[...]

In the US, one of the great uses of racism was (and is) to induce poor white people to feel a crucial and entirely specious fellowship with rich white people; one of the great uses of anti-racism is to make poor black people feel a crucial and equally specious fellowship with rich black people. Furthermore, in the form of the celebration of ‘identity’ and ‘ethnic diversity’, it seeks to create a bond between poor black people and rich white ones. So the African-American woman who cleans my office is supposed to feel not so bad about the fact that I make almost ten times as much money as she does because she can be confident that I’m not racist or sexist and that I respect her culture. And she’s also supposed to feel pride because the dean of our college, who makes much more than ten times what she does, is African-American, like her. And since the chancellor of our university, who makes more than 15 times what she does, is not only African-American but a woman too (the fruits of both anti-racism and anti-sexism!), she can feel doubly good about her.

In the words of our first "post-racial" president's speechwriters, it's the economy, stupid (or, rather, the racially stupid economy -- even its staunchest proponents this side of Ayn Rand will tell you that capitalism is amoral). As the harbinger of racial peace through commercial success, a prescient Arsenio Hall managed to signify our current climate through one particular performance that bridged the old racial divide in popular culture, that of the poor black's blues and the poor white's country:

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DO THE RIGHT THING, 20 SUMMERS LATER

Posted by Billyjam, August 17, 2009 05:37pm | Post a Comment
Spike Lee's Do The Right Thing ("Race Rant" scene) (1989)

I invite you to rewind two full decades, back twenty summers ago to the summer of 1989 when the hottest movie with the hottest soundtrack was Spike Lee's film Do The Right Thing featuring Public Enemy's "Fight The Power." It debuted in theaters that summer and caused some controversy at the time for its do the right thingno- holds-barred portrayal of ethnic and racial tensions in the multi-ethnic (Black, Puerto Rican, Italian, Korean, white) New York borough in which the film was set.

Do The Right Thing (Lee's fourth movie) was written, produced, and directed by the ATL born, Brooklyn raised filmmaker who also acts in the film (he plays Mookie). The highly recommended film, available on DVD at Amoeba Music, is set on the hottest day of the year (kind of like the weather in NYC this week, with humid highs in the mid 90's) on a street in the Bedford-Stuyvesant (aka Bed-Stuy) section of Brooklyn. That day, the flames of everyone's emotions and prejudices are fanned and fanned until they finally explode into violence. The film makes the strong point that violence -- no matter how tempting to those being oppressed -- really doesn't offer any long term solutions to the problems at hand.

With a solid story line and a strong cast that includes Danny Aiello, Ossie Davis, Ruby Dee, Richard Edson, Giancarlo Esposito, Bill Nunn, John Turturro, Samuel L Jackson (he plays the DJ at end of the "race rant" scene in clip above), Robin Harris, Martin Lawrence, and Rosie Perez (the latter two making their big screen debuts), the film struck a nerve with both critics and film-goers. It was a box office success and remains one of Lee's best movies to date. Ten years ago the United States Library of Congress deemed the film to be "culturally significant" and selected it for preservation in the National Film Registry.

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Jon Moritsugu - Original BB in da house

Posted by Eric Brightwell, May 14, 2009 02:38pm | Post a Comment

Jon Moritsugu and Amy Davis

Jon Moritsugu
is an American filmmaker who's enjoyed a long career of critical acclaim and underground fandom. Many of his films feature actress/wife/Scumrock co-writer/sometime bandmate Amy Davis. Although best known for his cult classic Mod Fuck Explosion, he's consistently and constantly made films that challenge and entertain with his unique style. As part of a series of interviews with groundbreaking Asian-Americans in the entertainment industry, he graciously agreed to be interviewed.

Eric Brightwell: Since it’s Asian/Pacific Island American Heritage Month, I’ll start with some questions related to that. First of all, how’s your APAH Month so far? Does it mean anything to you?

 
nori in its green glory                                                             "wok on over" and "taste the joy"... I don't get it!

Jon Moritsugu: APAH?... Ah... I did eat a buncha nori my mommy sent me... I think every day should be a day of awareness, be it racial, cultural, environmental or personal. No, but I digress...to me APAH is two for one Panda Express for me and the lady.

EB: It seems like in the past two decades, there’s been a fairly healthy explosion in the number of Asian American movies (albeit mostly within the indie sector). With the diversification within the works of Asian-American filmmakers, do people still tag you with the “bad boys” thing? Who were the “good boys of Asian American Cinema?” Wanye Wang and Peter Wang? What do you think about the current state of Asian American film?

Who's black and whose black?

Posted by Eric Brightwell, February 17, 2009 12:00am | Post a Comment

As Black History Month rolls on, I asked myself a question that may seem stupid to most people: Who exactly is black and who is not? And how is it decided? Does the individual or society determine what we are or is it a combination of both? Are there other factors? Is this the Family Feud or actual objective science?
 

In 2009, all rational and educated people now accept that race is a human construct, which isn't to say that it's meaningless. As long as people are treated differently (preferentially, discriminatorily or just differently based on presupposed differences) on the basis of race, how society constructs and applies that race is worth thinking about. And, ideally, there shouldn't be any shame in recognizing broad cultural differences either. Why should "white pride" be offensive? Pride in er-one, I say. Minor caveat: to even assume that American society has reached a consensus on race defies reality – that's why Dave Chappelle instituted the racial draft. So step with me into a blog of shadows and substance, things and ideas into, to coin a phrase, The Twilight Zone.

 
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