Etiquetas: John Akomfrah

Contenido etiquetado

  • DIM Cinema: The Nine Muses

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    DIM Cinema opens its 2016 season with Ghanaian-born British artist-filmmaker John Akomfrah’s epic film about the African diaspora to postwar Britain. Conceived as a gallery piece based on Homer’s Odyssey, this retelling of Telemachus’s search for his lost father, Odysseus, grew into a feature-length cinematic work structured as a song cycle, with each musical chapter named after one of the nine muses.  Mixing archival footage with original scenes shot in Alaska, and scripted from sound clips of established works of the (mainly) Western canon, the film summons up “a mood, rather than a story, that reflects on the immigrant experience and the violence of displacement with a majestic grace" (Jason Solomons, The Observer). “Striking ... Extends, complicates, and enriches the definition of documentary. Though lofty, The Nine Muses is never grandiose, taking as its subject the primal notion of what constitutes home” (Melissa Anderson, Artforum).

    Fechas: 

    Miércoles, Enero 27, 2016 - 19:30

    Local: 

    DIM Cinema - Vancouver, Canadá

  • Light Industry at Film Forum: Black Audio Film Collective

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    Handsworth Songs (John Akomfrah/Black Audio Film Collective, 1986)Light Industry at Film Forum: Black Audio Film Collective
    Tuesday, August 30th, 19h
    Film Forum, 209 West Houston Street, New York, NY

    - Handsworth Songs (John Akomfrah/Black Audio Film Collective, 16mm, 1986, 60 mins)

    In light of the recent waves of social unrest in Britain, we have decided to present a screening of Black Audio Film Collective's seminal essay film Handsworth Songs, which takes the 1985 Birmingham riots as its point of departure.

    "The collective's key work, Handsworth Songs (1986), is a succinct articulation of the dialectic of crisis and difference, and a critical primer - in artistic terms - of transnational post-colonialism. Though Handsworth Songs is an analytical essay on the cultural conditions under which young black men and women in Britain lived, and the racist policing tactics directed against them, the film, produced for Channel Four, did not merely reflect upon the structural violence of Thatcherism. In the aftermath of the protests in Handsworth, the film inhabits a different order of things: it is as much about elsewhere as about Britain.

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