Container of (work): Ethnic notions (Motion picture) Container of (work): Tongues untied (Motion picture) Container of (work): Affirmations (Motion picture : 1990) Container of (work): Anthem (Motion picture : 1991) Container of (work): Color adjustment (Motion picture) Container of (work): Non, je ne regrette rien (Motion picture) Container of (work): Black is, Black ain't (Motion picture) Container of (work): Long train running (Motion picture : 1981) Container of (work): I shall not be removed (Motion picture)
Notes:
Blackberri, Barbara Christian, Angela Davis, Brian Freeman, Henry Louis Gates Jr., Essex Hemphill, Bill T. Jones, Marlon Riggs, Patricia A. Turner. Title from container. Wide screen. Originally released as motion pictures in 1986-1995. Special features: four new programs featuring editor Christiane Badgley; performers, Brian Freeman, Reginald T. Jackon and Bill T. Jones; filmmakers Cheryl Dunye and Rodney Evans; poet Jericho Brown; film and media scholar Racquel Gates; and sociologist Herman Gray; excerpts from a 1992 interview with director Marlon Riggs; brief introductions by Riggs to Tongues untied and Color adjustment; Long train running: the story of the Oakland blues, Rigg's graduate thesis film; introduction to Riggs, recorded in 2020 and featuring filmmakers Vivian Kleiman and Shikeith, and Ashley Clark, curatorial director of the Criterion Collection; I shall not be removed: the life of Marlon Riggs, a documentary by Karen Everett that features interviews with Riggs; plus: an essay by film critic K. Austin Collins.
Contents:
(1991, 8 min.) -- Anthem (1986, 58 min.) -- Tongues untied (1989, 55 min.) -- Affirmations (1990, 10 min.) -- Anthem (1991, 8 min.) -- (1996, 60 min.). I shall not be removed: the life of Marlon Riggs (1992, 80 min.) -- Non, je ne regrette rien ( No regret) (1993, 38 min.) -- Black is... black ain't (1995, 87 min.) -- Long train running: the story of the Oakland Blues (1981, 29 min.) -- I shall not be removed: the life of Marlon Riggs (1996, 60 min.).
Summary:
Employing a mix of documentary, performance, poetry, and music in his work, the transformative filmmaker Marlon Riggs was an unapologetic gay Black man who defied a culture of silence and shame to speak his truth with resounding joy and conviction. Ethnic notions: Covers more than one hundred years of United States history, which traces the evolution of deeply rooted stereotypes that have influenced anti-Black prejudice. Some caricatures have played a role in political and social conflicts concerning race. Tongues united: Gives voice to communities of black gay men, presenting their cultures and perspectives on the world as they confront racism, homophobia, and marginalization. Affirmations: An exploration of Black gay male desires and dreams. Anthem: An experimental music video politicizing the homoeroticism of African-American men. Color adjustment: A study of prejudice and perception traces over forty years of race relations in America through the lens of prime time TV entertainment. Revisiting such popular hits as Amos and Andy, Beulah, The Nat King Cole Show, Julia, I Spy, Good Times and Roots, viewers see how bitter racial conflict was absorbed into the non-controversial formats of the prime time series. Non, je ne regrette rien: Through music, poetry and self-disclosure, five sero-positive Black gay men speak of their individual confrontation with AIDS. Black is... black ain't: American culture has stereotyped black Americans for centuries. Equally devastating, the late Marlon Riggs argued, have been the definitions of "blackness" African Americans impose upon one another which contain and reduce the black experience Long train running: Draws on a wealth of archival materials to trace the evolution of the Oakland blues, a unique musical style developed by Black shipyard workers in the Bay Area in the 1940s and '50s. I shall not be removed : the life of Marlon Riggs: Provides a memorial to Marlon Riggs, the gifted, gay, black filmmaker who died from AIDS in 1994. It traces his development from a precocious childhood in the close-knit African American community of Fort Worth, Texas, through his political awakening at Harvard, to his final years as a courageous advocate for stigmatized people everywhere.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.