"I consider my films forward movements, each one on a step to the next one."—Ava DuVernay
In the first issue in the sixth volume of Black Camera, we conduct an extended conversation with Ava DuVernay, founder of the distribution company African-American Film Festival Releasing Movement and director of the new film Selma (2014)*, I Will Follow (2010) and Middle of Nowhere (2012), the latter making her the first African American woman to win the Best Director Award at the Sundance Film Festival.
READ FOR FREE: Conversations with Ava DuVernay—“A Call to Action”: Organizing Principles of an Activist Cinematic Practice
Author: Michael T. Martin
Black Camera 6.1 also has at its center the feature called “Close-Up,” that takes an in-depth look at a particular filmmaker, film, or cinematic formation. Delphine Letort, a member of Black Camera’s Advisory Editorial Board, and a prominent media scholar at the University of Le Mans, France, edits this issue’s installment. In its far-ranging analysis of postcolonial filmmaking in francophone countries, Letort asserts, engages with “the interstices of transnational filmmaking as illustrated by the feature films of directors with a double culture, working either as second-generation filmmakers in France or as postcolonial subjects in or having emigrated from (North) African countries.” Included in this Close-Up examination are: Benjamin Stora’s piece on representations of the Algerian War of Independence by Algerian and French filmmakers; Tsitsi Jaji’s feature on Mauritanian filmmaker Abderrahmane Sissako; Florence Martin considers the cultural stasis and women’s subjectivities in Tangier in The Wretched Life of Juanita Narboni; Isabelle Vanderschelden examines Tony Gatlif’s films about Romani diasporas in Europe; Jeanne Garane’s explores the “European delusion” in Moussa Touré’s La Pirogue (2012); Letort interrogates Rachid Bouchareb’s Little Senegal (2001) that delimits the organizing utility of diaspora for French-speaking Africans and their African American counterparts; and finally Letort and Emmanuelle Cherel curate a pleasurable and meaningful gallery of images from the work of three Algerian women artists who unmask and disrupt the colonial past in modern day Algeria as characterized by architectural remnants in the urban landscape.
Also in this issue, Marilyn Yaquinto gives a compelling account of the contemporary relevance of the late Sam Greenlee’s The Spook Who Sat by the Door (1973), and Amy Corbin’s reconsideration of Charles Burnett’s My Brother’s Wedding (1983) in conversation with Killer of Sheep (1979) and To Sleep with Anger (1990). Finally, we include an interview with Erez Pery, Art Director of Israel’s Cinema South Festival, and three film reviews by Olivier Barlet in the Africultures Dossier, along with book reviews and archival news.
* For more on Selma see the blog post: Is 'Selma' a turning point for how we remember Martin Luther King, Jr.? by Jennifer J. Yanco.
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