December 10, 2011
See parts 2 & 3 of the episode at www.ebertpresents.com
And below are a few of my previous Race in Film posts that elaborate on some of the films and ideas mentioned on the show!
In Michelangelo Antonioni’s 1962 film L’eclisse (Eclipse), time is the enemy. For this reason the chronically depressed will understand it implicitly. They will know that a fan turning left to right makes all the more stagnant the air in a room. They will understand that no part of that room, no corner or cushion, can provide relief from the realization that every approaching minute is opportunity for life to prove itself meaningless… (Full post & video)
As evidenced by this very Race in Film series, color is a large part of my life. This is frequently not by choice, as was certainly the case when I was a child… (Full post & video)
Tammy & The Bachelor:
In elementary school, my desire to be white was so strong, I created two imaginary sisters. They were both older and white with red hair and lived in California. One’s name was Gina, and the other’s was Tammy. I named her Tammy after the character in the 1957 film Tammy and the Bachelor directed by Joseph Pevney. Who could be whiter than Tammy? (Full post & video)
The Joy Luck Club:
I know The Joy Luck Club like the back of my handâ€¦Unfortunately.
While I recite lines from The Thin Man Goes Home at the drop of a hat, I carry the script of TheJoy Luck Club in my mind’s eye like the scene of a horrible crime. I cannot shake it. It will not be shook… (Full post & video)
Swing Time & Shall We Dance:
This, more than any previous Race in Film post, gets to the nitty gritty of the whole series, and I am very nervous. It might be strange to get timid nine posts in, but there seems to be no rhyme or reason to what I am comfortable talking and not talking about.
Judy Garland is fair game, but Fred Astaireâ€¦ Fred Astaireâ€¦
He is the man that makes my knees lose themselves… (Full post & video)
The first thing you must realize about Stormy Weather before anything else, is that it is not real.
Of course it isn’t real in the sense that it is a narrative film and as such it is fiction, but it is unreal in another way. It is a romanticization of African American life offering one-dimensional characters without nuanceâ€“ in â€œresponseâ€ to the one dimensional un-nuanced characters in other films… (Full post & video)
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