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Arts & EntertainmentCulture

Black Panther: A Film Review

by Melody Gulliver 03/07/2018
written by Melody Gulliver

By Sydney Matthews

Ryan Coogler’s Black Panther is more than just a well-done, commercially successful super hero film. In the midst of our white nationalist climate, its narrative emboldens imperative notions of Black nuance, prosperity, and utility.

For instance, in one aspect the characters Black Panther and N’jobu demonstrates how being black does not encapsulate one set of values. Mainstream media has often failed to represent Black characters as multi-dimensional entities with nuanced thought and powerful development. Black Panther successfully destabilizes these tropes through its rich depiction of black culture and identity. This is complexity is illustrated in the divergence of Wakandan thought, ideologies, and leadership. For T’Challa, Wakandan prosperity was grounded in ideals of secrecy and suppression of national knowledge. To the contrary, N’jobu asserted black identity was rooted in philanthropic efforts to protect racial minorities outside Wakandan borders. The conflict of borders and resource allocation echoes political trends today. These strong parallels collapse the space between fiction and reality and forces audience members to ask uncomfortable questions. When your life is in jeopardy how willing are you to aid those who are also suffering? Could it be solely a divisive strategy of American government, fear of own security, or are we so blinded by each other’s contrast that we don’t feel inclined to help one another?

But, I digress.

The Interplay of the Black Panther’s and Okoye’s politically and athletically inclination highlighted the unparalleled strength embedded within black culture.

Ultimately, inclusivity in the media echoes on a on broader scope ,a global understanding of the true capacity and representation of a myriad of people.

Conclusively, the antagonist N’jobu had good intentions to aid those who were disenfranchised but the execution was overly aggressive-burning of the garden of flowers that give the black panther its power. Comparable to our current invasive tactics within the Black Lives Matter movement. The intentions of the movements is honorable -advocation for equal value, but the destruction of neighborhood resources during Trayvon martin protests and other senseless black deaths from police brutality is counter intuitive. Essentially, destroying our own resources is simply is a disservice because we become our own impediment for prosperity.

Black Panther made me feel proud to be black and this movie embodied fearlessness and grace of Black people that is usually overlooked in media .

03/07/2018 0 comments
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Opinion

Candyman and Irresponsible Storytelling

by Melody Gulliver 02/26/2018
written by Melody Gulliver

It seems like everyone has a “Candyman” story. When I was seven, I would sneak into my sister’s room after my parents fell asleep. We would watch all sorts of films and when we were too afraid to fall asleep, we would talk ourselves into oblivion. Horror films brought us together in a way other movies couldn’t. Maybe it was the thrill of childhood rebellion. Or, maybe it was the security of not being alone. As a child, Candyman was nothing more than a scary story that amplified a fear of bees and slashers. After watching it again nearly fifteen years later, my fondness for it has faded into unabashed discomfort. It is no longer a movie that evoked childhood thrill. I cannot separate the merit of the work from the irresponsibility of its storytelling. The characterization of Candyman as a grotesque, hostile, and threatening black man obsessed with a white woman perpetuates dangerous racial stereotypes. The consequence of this depiction fortifies the racial fears and constructs that people of color have worked so ardently to dismantle.

While the film incorporates a backstory that helps humanize Candyman’s rage, the complexity and emotional impact of his trauma is largely left unexplored. This is illustrated in the way Helen Lyle learns Candyman was murdered in a vicious hate act. The film makes no attempt to expand and emotionalize this atrocity through a visual depiction. Visual depiction increases credibility and urges audience members to confront uncomfortable truths, sympathize with the victim, and condemn the perpetrators. The effect of oral storytelling is that it reinforces a disconnect and inhibits villainous forces like racism from being properly acknowledged in the story’s context. Through this incident, the film failed to substantiate Candyman’s actions by underlining complex emotionality. Candyman’s apparent one-sidedness eroded the potential for audience sympathy and intensified racial fears. After Helen learns of Candyman’s trauma, she develops a thesis that invalidates the authenticity of Candyman for her anthropological dissertation. Helen’s consumption of Candyman’s narrative and subsequent skepticism emboldens the narrative’s racial inequalities. It appears the study of Candyman and Cabrini-Green, the poverty-stricken neighborhood he terrorizes, is merely a mechanism to her advance anthropological pursuits. It is not genuine concern, but rather, a curiosity that propels Helen’s work.

In addition to the white consumption of black tragedy for personal benefit, Candyman promotes a racial caricature reminiscent of D.W Griffith’s “Birth of a Nation.” Similar to Candyman, reception of Griffith’s 1915 film differed on two accounts: the artistic merit and its appallingly racist content. For some, Griffith’s bold cinematic choices revolutionized the motion picture industry and thus, warranted it a historic artifact despite its disturbingly racist narrative. Birth of a Nation relied on racist tropes including the hypersexualized and violent savagery of African American men to intensify social fears and validate racial anxiety. Specifically, it championed a notion that black men pose a dangerous threat to white women. Although Candyman isn’t as explicit as Birth of a Nation, it echoes similar sentiments. While Candyman was summoned by Helen’s naïve accord (i.e. she said his name five times), he terrorizes her for an elongated period because of her resemblance to his late lover. At one point, Candyman deliberately acknowledges this obsession, stating, “it was always you.” The film’s horror is contingent upon this irrational obsession. Candyman’s actions are guided in part because of his myth (i.e. “needs to shed innocent blood”) and his fascination with Helen. Worse than just irresponsible storytelling, Candyman augments racist tropes for commercial gain. For that reason, any creative value is compromised almost entirely.

02/26/2018 0 comments
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Campus

Oscar Nominee, Jordan Peele, Teaches “Get Out” Inspired Class at UCLA

by Melody Gulliver 02/21/2018
written by Melody Gulliver

Students rushed into a crowded lecture hall, shuffled through aisles, grasped their phones in eager anticipation, and scanned the room impatiently. Just a few days earlier Jordan Peele’s directorial debut ‘Get Out’ received an astonishing four Oscar nominations. And in just a few moments Peele was to walk through the door and lead a class discussion on the film.

Before answering any questions, Peele recited a touching anecdote about the impact representation has on young artists.

In 1991, a twelve-year-old Peele watched Whoopi Goldberg accept an Academy Award for her role in ‘Ghost.’ The moment was groundbreaking because it shattered notions that Black artists cannot succeed in a white-dominated industry. For it was not lack of ability, it was lack of opportunity.

“I remember internalizing that. Like wow, she’s speaking to me ‘cause this is something I want to do, I feel like I can do,” said Peele. “When the nominations came together last week, I realized the awards and the acknowledgment is bigger than me, and bigger than my personal accomplishment.”

The students applauded enthusiastically as if everyone in the room understood the historical weight of the film.

What distinguishes the film from other Oscar contenders is its unapologetic depiction of the modern Black experience. Instead of conforming to mainstream motion picture pressures, Peele actively opposed it. He knew it was a story that needed to be told. Told well and more importantly, told honestly.

Students asked several questions about the film’s process including artistic influences and production disagreements. One student inquired about the success of Black films and filmmakers in recent years including Barry Jenkin’s ‘Moonlight,’ Peele’s ‘Get Out, and Ryan Coogler’s ‘Black Panther.’ He wondered if this momentum reflected a temporary trend or stable progress.

Peele contended it was the latter.

“I think there is an ebb and flow. There are backlashes but I do feel…right now is the greatest time in Black film. We might be in the greatest time in film.”

Afrofuturist writer and professor, Tananarive Due, launched the pilot Get Out course last spring. Conveniently titled “The Sunken Place: Racism, Survival, and the Black Aesthetic,” the course explores the overlooked nuances, history, and pioneers of the genre, including William Du Bois and Octavia Butler. It investigates the social utility of black horror and its cathartic approach to “real life trauma.”

Octavia explicates this point in an interview with New York City-based newsmagazine The Indypendent.

“I was attracted to science fiction because it was so wide open,” explained Butler, “I was able to do anything and there were no walls to hem you in and there was no human condition that you were stopped from examining.”

Unlike other genres, science fiction and horror provide an unparalleled opportunity for social activism because artists are able to intelligently embed the fantastical narratives with social critique. The covertness allows these ideas not readily accepted by mainstream media to enter society without sacrificing its reception.

One student asked Peele about his experience navigating the tropes of science fiction “without disenfranchising the very real and serious issues of the film?”

“I am not someone who likes to be told the truth. I like to find the truth in what is presented to me. And that’s where the benefit of genre comes to me,” explained Peele, “I can engage the audience on this level of imagination, this level of entertainment, this level of emotion, and within that…you have left the bread crumbs for people to acknowledge the truth that they’ve found.”

Get Out is brimmed with bread crumbs. Arguably, it’s Peele’s ingenious use of symbolism that emboldens viewers to watch the film over and over again and find those hidden truths.

Whether or not Get Out triumphs this Oscar season—which it should—there is no doubt it was the most influential film of 2017. It prevailed economically, visually, artistically, and socially. It helped augment the genre of Black horror while underlining uncomfortable social truths.

Get Out prompted a mainstream dialogue concerning racial suppression and the various ways it manifests: prison industrial system, micro-aggressions, white complicity. But Peele’s greatest accomplishment was giving a name to the normalized conquest of minority groups. By defining racial suppression as “the sunken place,” Peele allows viewers to understand, approach, and dismantle its hold on modern society.

02/21/2018 0 comments
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Arts & Entertainment

Jordan Peele’s “Get Out” Receives Four Oscar Nominations

by Melody Gulliver 02/06/2018
written by Melody Gulliver

Jordan Peele’s 2017 social thriller, “Get Out,” received four Academy Award Nominations including Best Picture and Best Original Screenplay.

Following the Oscar reveal, Peele expressed his gratitude via Twitter. “Right now I’m just thinking about everyone who bought a ticket and told someone else to. You did this. Thank you,” wrote Peele.

Peele’s directorial debut, Get Out, is a testament to the black survival aesthetic. Through horror, comedy, and satire, the film underscores the multitude of ways racism persists in post-Obama America, including (such as through??) microaggressions and the continued commodification of Black bodies.

Since its 2017 premiere, the film has amassed much critical and financial success. With a 99% Rotten Tomato rating, two Golden Globe nominations, four Oscar nominations, and a “630% return on investment,” Get Out has proven to be one—if not the—most successful movies of the year.

Tune into the 90th Academy Awards on March 4th to see if Get Out will triumph this Oscar season.

02/06/2018 0 comments
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Archive

Marvel Announces Cast of Upcoming Black Panther Film

by Brian Griffith 05/19/2016
written by Brian Griffith

Photo by  Bryan Ward via Flickr

Following the widely successful release of Captain America: Civil War, Marvel has begun to announce the cast of the upcoming Black Panther movie. Black Panther, a character created by Stan Lee and Jack Kirby, is a superhero with enhanced strength, endurance , and reflexes. According to the comics, he is part of the royal family of Wakanda, a fictional African country. As the Black Panther, he protects his home country from invaders or the forces of evil.

Black Panther first made an appearance in the Marvel Cinematic Universe in Captain America: Civil War, which many people have been raving about.

There are several Black and African superstars who will be in Black Panther, including Michael B. Jordan and Lupita Nyong’o. Chadwick Boseman will return as Black Panther after his appearance Captain America: Civil War.

There is no known plot for the movie at this time or even who the famous actors mentioned above roles will be in the upcoming film. However, it should be a best seller just like its sister film Captain America: Civil War. And it has a following already from various communities who are tired of seeing superheroes that do not look like them.

05/19/2016 0 comments
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Archive

Kerry Washington Portrays Anita Hill in New HBO Film

by Brian Griffith 04/15/2016
written by Brian Griffith
Photo via Flickr
Kerry Washington is portraying Anita Hill in the upcoming film Confirmation. Anita Hill, a professor of law for many years, was instrumental in pushing for stronger sexual harassment laws being taken more seriously, especially for black women.
Confirmation tells the story of Hill’s battle against Supreme Court Justice member Clarence Thomas. In 1981, shortly after becoming a professor, Hill accused Thomas of sexual harassment. Thomas had just been identified as the presidential favorite to replace Thurgood Marshall as Supreme Court Justice. Thomas and Hill worked together for the Department of Education and as well as the Equal Employment Opportunity Commission.
At the time, Hill’s accusations weren’t believed due to the strong character and air of infallibility that Thomas portrayed. Having “followed” Thomas from the Education Department to the EEOC, many people found fault with her testimony stating that because she stayed employed with him she could not possibly have been harassed or else she would have left.
The case garnered national attention twenty-five years ago; however, died down immediately after lawyers and lawmakers made it go away once Thomas became a Supreme Court Justice. However Hill’s story is still one often cited in discussions on sexual harassment in the workplace. Kerry Washington hopes to use the upcoming film as a platform for inciting more progressive dialogue about sexual harassment in the workplace.
Confirmation is set to premiere April 16th at 8pm on HBO.

 

04/15/2016 0 comments
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Archive

Forest Whitaker is Starting Anew

by Brian Griffith 02/04/2016
written by Brian Griffith

Photo by Stephen Poff via Flickr

Forest Whitaker is no stranger in taking on complex characters. However, he is trying his luck in a different way; he is undertaking the role of Erie Smith.

For those unfamiliar with the character of Erie Smith, he comes from the one-act play called “Hughie” written by Eugene O’Neill. In the play, Erie Smith is a small-time gambler and a big-time drinker.

Whitaker is new to the world of Broadway. Even more interesting, his debut has to deal with a character that has been never been played by a Black man. This comes after the wave of #OscarSoWhite, so Whitaker has much to live up to. He comes on the heels of many different White actors playing the role of Erie Smith. While this may be new to Whitaker, I have the upmost confidence in his abilities to bring this character, Erie Smith, to life on Broadway.

02/04/2016 0 comments
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Archive

Marvel Debuts Action-Packed First Trailer for Captain America: Civil War

by Sam Pritchard 11/26/2015
written by Sam Pritchard

Marvel Studios just dropped the first trailer for Captain America: Civil War on tonight’s episode of Jimmy Kimmel, and it is undeniably epic. The teaser does an admirable job of making clear the premise and the stakes of the movie in just over two minutes—while showing off tons of gorgeous action and fight choreography, of course.

For those who aren’t familiar, Civil War is based on a Marvel comics crossover of the same name, in which superheroes become divided and fight each other over a controversial superhero-registration law. Relevant for the film is that the pro-registration side is led by Tony Stark (Iron Man), and the anti-registration side is led by Captain America. It seems that the film will hew to this general premise, though hopefully not to the more convoluted and politically-questionable elements found in the comics.

Oh, and by the way, Black Panther shows up, and he looks just as badass as you could possibly hope for:

 Definitely the coolest head of state in the Marvel universe

Definitely the coolest head of state in the Marvel universe

In fact, it’s notable that Civil War features three black characters, played by Don Cheadle (War Machine), Anthony Mackie (The Falcon), and Chadwick Boseman (Black Panther). Scarlett Johansson’s Black Widow and Elizabeth Olson’s Scarlet Witch also appear, making this one of the more diverse films in Marvel’s repertoire (still heavy on the white guys, though).

Setting that aside, the trailer stands on its own with its epic action sequences and surprisingly affecting emotional stakes—the last line is pretty killer for any die-hard fan of the Marvel Cinematic Universe.

Check out the trailer below:

11/26/2015 0 comments
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