Indiana University Art Museum: African Reinventions: Reused Materials in Popular Culture

Recycling is a way of giving new life to old ma-terials. The Indiana Uni-versity Art Museum ex-plores the use of recycling in African artifacts with a special exhibition entitled African Reinventions: Re-used Materials in Popular Culture. From September 25-December 17, 2010 in the IUAM’s Judi and Milt

Stewart Hexagon Gallery, the IUAM will showcase this exhibition, which has been organized to coin-cide with sustain•ability: Thriving on a Small Planet, the fall 2010 Themester.

The exhibition will feature a film poster,

VOLUME 1, ISSUE 3

SEPTEMBER 2010

Black Film Center/Archive Newsletter

INDIANA UNIVERSITY

Obituaries 2-3

New Orleans 4

Fall Festivals 5

Call for Papers 6

Film Resources 7

Recent Publications 8

INS IDE THIS ISSUE:

DONATE TO THE BFC/A

There are many ways to support the BFC/A and the work it does.

Please consider making a tax deductible donation to the BFC/A endowment which will help us continue to grow and expand. For more information, please visit:

Are you a filmmaker or actor who wants to ensure the preser-vation of materials documenting your career? Are you a collector who has materials related to the study of black film (i.e. film, videocassettes, posters, etc.) who wants to donate materials to be included in our research collec-tion? If so, email us, or call us at (812) 855-6041.

EDITOR: LESLIE HOUIN

Animafrik 2010 August was an important month for Animafrik 2010. The international animated film festival celebrated its second year, operating under the theme “Sharing Our Ex-perience”. The screening event took place Aug 23rd to the 27th at the Alliance Française and La Maison Française in Accra.

Animation in the African community took root over 40 years ago; however, this field grew minimally. By organizing Animafrik, Ani-

mation Africa promotes awareness of animation as media and continues to support the animation in-dustry in Africa.

The Animafrik 2010 program included confer-ences discussing the chal-lenges that the industry faces in West Africa as well as teaching animation in sub-Saharan Africa. Animafrik included discus-sion on the Anansi Mis-sion. The Anansi Mission strives to connect the Afri-

Photo by Michael Cavanagh and Kevin Montague, courtesy Indiana University

In this issue, the Black Film Center/Archive gives a formal good-bye to a some

wonderful people. Graduate assistants Jean-Christophe (J.C.) Henry and Heather Essex are mov-ing to begin new careers in Dakar, Senegal. They will teach Anglophone classes at the École Actuelle Bilin-gue in Fenêtre Mermoz. Heather will teach kindergar-ten and J.C. will teach 1st and 2nd grade. We will miss their presence at the BFC/A, but we are excited about their move to Senegal and wish them all good luck in their future endeavors!

We also say good-bye to and pay homage to the actresses Abbey Lincoln and Vonetta McGee.

Farewells

IUAM continued on page 4.

can Diaspora to the Afri-can continent through cultural references such as music, storytelling, art, scriptwriting and, along-side other creative activi-ties, animation.

Short animated films from Africa, the Carib-bean and France were screened. The festival officially began with an 20 day-long animation workshop led

Animafrik 2010 continued on page 5.

Heather Essex and J.C. Henry

VOLUME 1, ISSUE 3 PAGE 2

Abbey Lincoln, whose poetic and phi-losophical verses spanned a musical career of over 50 years, passed away on Saturday, August 14, 2010 in Manhattan. She was 80 years old.

Often referred to as one of the most arresting and uncompromising singers of jazz, Ms. Lincoln’s voice harkened a like-ness to Billie Holiday with a deeper regis-ter and darker tone.

“Her utter individuality and intensely passionate delivery can leave an audience breathless with the tension of real drama,” wrote Peter Watrous in The New York Times in 1989. “A slight, curling phrase is laden with significance, and the tone of her voice can signify hidden welts of emo-tion.”

Ms. Lincoln was born Anna Marie Wooldridge on August 6, 1930 in Chicago, the 10th of 12 children, but was raised in rural Michigan. A natural performer through childhood, Lincoln left Michigan by the early 50s to venture westward. She began singing professionally and spent two years as a nightclub attraction in Honolulu, where she met Billie Holiday and Louis Armstrong. Shortly after this encounter, she moved to Los Angeles where she met accomplished lyricist Bob Russell.

Mr. Russell became Lincoln’s man-ager. Ms. Lincoln used a few aliases while performing, but it was Russell’s suggestion that she take the name Abbey Lincoln, a

symbolic union of Westminster Abbey and Abraham Lincoln. In 1956, she recorded her first album, “Affair…a Story of a Girl in Love” (Liberty Records), with saxo-phonist Benny Carter’s band. She also appeared in her first film, The Girl Can’t Help It, in which she wears a dress previously worn by Marilyn Monroe. She also recorded That’s Him, It’s Magic, and Abbey Is Blue in the late 1950s. During this period, her appearance was very glamorous.

Ms. Lincoln’s inquisitiveness and intelligence led her to leave behind her glamorous musical debut and explore a modern jazz ensemble that included tenor saxophonist Sonny Rollins and the drummer Max Roach. Collabora-tions with jazz musicians allowed her to branch out from a supper-club singer to a jazz singer and songwriter. One of her most stirring collaborations, which also radicalized her reputation in the eyes of America, was with the We Insist! Max Roach’s Freedom Now Suite. Ms. Lincoln married Mr. Roach in 1962.

During the 1960s, Ms. Lincoln focused on her acting career more than her singing. She appeared opposite Ivan Dixon in 1964 as Josie, the loving wife of Duff Anderson, in the film Nothing But a Man. Four years later, she starred opposite Sidney Poitier in For Love of Ivy. Ms. Lincoln recorded one album during the 1960s—Straight Ahead (Candid, 1961).

Robert M. Young, co-writer of Nothing But a Man, remembers Ms. Lin-coln as, “very easy to work with. She had such a strong personality and was so cen-tered that she could bring herself to the work without any issues. That means that she was always able to 'allow' herself to be in the moment and her instincts in that moment were always honest. I think we

In Memorium: Abbey Lincoln (1930-2010)

all kind of fell in love with her, not only for her beauty but because of this natural quality that she had.”

Mr. Roach and Ms. Lincoln divorced in 1970. During this period, she withdrew from the public eye for a time in Los An-geles. She never remarried.

Ms. Lincoln visited Africa in 1972. She received two honorary appellations: Aminata in Guinea and Moseka, which she would occasionally use as her surname, in Zaire.

In 1973, Ms. Lincoln recorded People in Me (Verve). Ms. Lincoln moved to New York City in the 1980s where she returned to performing, recording Painted

Lady (Itm, 1980), Golden Lady (Inner City Records, 1980), Talking to the Sun (Enya, 1983), and Abbey Sings Billie (Enya, 1987). She caught the attention of Jean-Philippe Allard, a producer and executive with PolyGram France, and recorded The World is Falling Down in 1990. She continued to record with Verve until the end of

her working life.

Ms. Lincoln recorded eight more simi-lar albums, each produced by Mr. Allard. These albums incorporated both original works, such as Throw It Away and When I’m Called Home, and wonderful interpre-

In Memorium: Vonetta McGee (1945-2010)

BLACK FILM CENTER/ARCHIVE PAGE 3

In 1974, Ms. McGee co-starred with Max Julien in the film Thomasine and Bushrod. While Thomasine and Bushrod was often written off as blaxploitation, Ms. McGee demonstrated her acting tal-ent and character development beyond that of the typical blaxploitation film. She went on to appear with Clint East-wood in the 1975 action-thriller The Eiger Sanction. “I was pleased to see her get a role with Clint East-wood,” William-son told the Los Angeles Times. “Not many black actors had that opportunity to be in a movie where color doesn’t matter.” “Vonetta McGee was like a lot of actors and actresses at that time, like myself, Jim Brown, Richard Round-tree, Billy Dee Williams and Pam Grier, in that we had more talent than we were allowed to show because everything was perceived as a black project. Once they categorize you, your marketability be-comes limited,” he added. When asked in 1974 by a Soul Train audience member what she had to go through to become an actress, Ms. McGee joked about going through “pure pain” and then stated, “I did a lot of little theater and basement church work… a lot of things for no pay and long hours in San Francisco.” During the 1980s and 90s, Ms. McGee worked mainly in television, taking roles in shows such as Hell Town, Bustin’ Loose, L.A. Law and Cagney & Lacey, on which she portrayed the wife of Detective Mark Petrie, played by Carl Lumbly. Ms. McGee and Mr. Lumbly were married in 1986. Ms. McGee is survived by her hus-band and her son, Brandon Lumbly; her mother, Alma McGee; three brothers, Donald, Richard and Ronald; and her sister, also named Alma McGee.

Vonetta McGee, remembered as one of the most beautiful actresses of her time, passed away July 9, 2010 in Berke-ley, California. She was 65 years old. Lawrence Vonetta McGee, named after her father, was born on January 14, 1945 in San Francisco. While pursuing a degree in pre-law at San Francisco State College, she became involved in a local acting group. She left college early to follow a career in acting. Her film career began in Italy with the 1968 films Faustina and Il Grande Silen-zio (The Great Silence). After seeing her performances in these two films, Sidney Poitier arranged for her to be cast in her first American film, The Lost Man (1969).

During the 1970s, Ms. McGee found general success during the period of blax-ploitation films. She appeared opposite Fred Williamson in the 1972 black action film, Hammer. She also had starring roles in the popular horror film Blacula and the crime drama Melinda during the same year. In 1973, she appeared with Richard Roundtree in Shaft in Africa.

tations of others’ songs such as Bob Dy-lan’s Mr. Tambourine Man, Lionel Hamp-ton’s Midnight Sun, and I’ll Be Seeing You in the style of Billie Holiday. Also fea-tured on these albums were significant musicians such as tenor saxophonist Stan Getz and vibraphonist Bobby Hutcherson.

In 1990, Ms. Lincoln played her last film role as the mother of Bleek Gilliam (played as an adult by Denzel Washington) in Spike Lee’s Mo’ Better Blues.

Ms. Lincoln also recorded the albums Over the Years (2000), It’s Me (2003, the year she received the National Endowment for the Arts NEA Masters Award) and Naturally (2006).

For Abbey Sings Abbey, Ms. Lincoln revisited her original works and performed them in an acoustic roots-music setting. And though Ms. Lincoln’s voice had aged, the beauty and essence of each song were illuminated through this album.

Abbey Sings Abbey was released in May 2007. Ms. Lincoln was recovering from open-heart surgery at the time.

While being filmed for the documen-tary Abbey Lincoln: The Music is the Magic (2009), Ms. Lincoln commented on the glorification of the deceased musician: “It’s the way it is. I wonder sometimes what would happen if the disc jockey started to play an artist before they died—maybe when they found out that they were sick. If they started to fill the atmosphere with their sound, maybe a part of them might decide they won’t go. They’ll stay. But the way it is here, we always wait until the person’s gone. And then we start to talk about how great and wonderful they were.”

Ms. Lincoln is survived by two broth-ers, David and Kenneth Wooldridge and her sister, Juanita Baker.

VOLUME 1, ISSUE 3 PAGE 4

Lower 9th Ward Village Community Center It has been 5 years since Hurricane Katrina ravaged New Orleans. While much of the debris scattered by the storm and floods has been cleaned up, many people still live with the psycho-logical damage.

“After Hurricane Katrina, I was numb,” stated Ward “Mack” McClendon. To distract himself from the destruction of Hurricane Katrina, Mr. McClendon decided to try to help the community by opening the Lower 9th Ward Village, a community-driven, community-led, nonprofit 501(c)3 or-ganization and neighborhood center, in 2007.

The main goal of the Lower 9th Ward Village is to bring together the entire Lower 9th Ward and to empower community members to be self-sufficient and to sustain an equitable quality of life. The Village focuses on connecting the elderly and youth with services and providing care and guid-ance from the community as a whole. It houses a library, a computer room, a kitchen, large spaces for gathering, playing music and viewing films (Joseph Gaï Ramaka has screened some of his films here), a garden and chicken coop.

The Lower 9th Ward Village des-perately needs services to rebuild and sustain the community. The center helps fill this void by providing a range of services, from literacy, job training and apprenticeship programs to recrea-tional facilities and community meeting space. The center also relies heavily on donations and volunteers. For instance, the entire library is comprised of do-nated books and the computers, whilst coming from a computer era gone by, have been donated as well. Volunteers from all over the country come to work at the center—some for a day, others for days on end.

The Lower 9th Ward Village is a place of inspiration in that it does what it feels compelled to do: to create a community of neighbors who care about each other. But this community is not limited to the 9th Ward; it goes beyond into the city of New Orleans, the state of Louisiana, to states throughout the U.S.A. as well as for-eign countries.

If you are interested in making a donation or volunteering, please visit the Village website or send an e-mail.

Mr. McClendon’s vision for the cen-ter is to “bring the community back, to make it whole.” In front of the center is a mural that Mr. McClendon created, showing the displacement of people from the city of New Orleans. Before Hurricane Katrina, 14,000 people inhab-ited the Lower 9th Ward. Mr. McClendon estimates that only 4,500 people have returned.

The turmoil, tragedies and difficulties caused by the hurricane and consequent flooding is still deeply felt by those who reside in the Lower 9th Ward. For a period, Mr. McClendon tried to get young people to talk about their feelings with him. Many refused as the past was difficult to discuss. However, a few asked him if they could start an Open Mic Poetry night at the community cen-ter. He agreed and discovered that through their poetry they were able to articulate to themselves and to others what they felt inside.

Mr. McClendon wants to give chil-dren an after-school activity to keep them off the streets and to be able to encourage adults to act as mentors to the children. One of his goals is to build a full-size basketball court for summer programs.

hand-painted on flour sacks, from the Black Film Center/Archive.

The exhibition will also display ob-jects from local private collectors who have done research and lived in Africa. Some of the objects were intended for practical uses, such as the oil lamps made from converted light bulbs. Other objects were made from scraps and in-tended to be sold to Westerners as sou-venirs. For many Westerners, these “souvenirs” also inspire them to be crea-tive in the face of limitations and reuse items that they would otherwise discard.

African art and artifacts are so often categorized by non-Africans as tradi-tional, which implies a practice that does not change. However, Dr. Dierdre Ev-ans-Pritchard, professor of Visual and Cultural Anthropology at the University of Southern California, notes that

“African art is always dynamic—changing, mutating, copying, experi-menting , on the move.”

Dr. Evans-Pritchard further notes that , “As waves of technology have swept the region, people have adapted, as they have everywhere, to change and the hopes it embodies.”

As we finish the first decade of the 21st century, we see a collective con-sciousness to reduce waste, conserve our resources and to reuse items where we see fit. African Reinventions serves as an aesthetic reminder of these ideals.

IUAM continued from page 1

The BFC/A has added quite a few new films this year and have more waiting to be cataloged. Highlights of the new additions include quite a few Nollywood films, musical performances (Passing Strange, Fela Kuti: Music is the Weapon, and The Gospel at Colonus star-ring Morgan Freeman), LGBT stories (Flag Wars and Venus Boyz) and some really great documentaries includ-ing H2 Worker, Heart of the Game, Pressure Cooker, and many more. To see a com-plete list of new acquisitions, please visit: http://www.indiana.edu/~bfca/collection/newfilms.shtml

New Film Additions

to the BFC/A

BLACK FILM CENTER/ARCHIVE PAGE 5

Toronto International Film Festi-val, September 09-19, Toronto, Ontario.

Athens International Film Festival, September 15-26, Athens, Greece.

Naija International Film and Video Festival, September 21-25, Lagos, Nigeria.

Montreal International Black Film Festival, September 22-October 03, Montreal, Quebec.

Rio De Janeiro International Film Festival, September 23-October 07, Rio de Janeiro, Brazil.

New York Film Festival, Septem-ber 24-October, New York City.

International Black Film Festival of Nashville, September 29-October 03, Nashville, Tennessee.

Bogotá Film Festival, September 29-October 07, Bogotá, Colombia.

Vancouver International Film Fes-tival, September 30-October 15, Vancouver, British Columbia.

Mid-Atlantic Black Film Festival, October 07-09, Norfolk, Virginia.

Chicago International Film Festi-val, October 07-21, Chicago, Illi-nois.

International Black Women Film Festival, October 08-10, Seneca Falls, New York.

Queer Black Cinema International Film Festival, October 14-17, Har-lem, New York.

New Orleans Film Festival, October 14-21, New Orleans, Louisiana.

Out in Africa-South African Gay and Lesbian Film Festival, October 14-31, Cape Town & Johannes-burg, South Africa.

Twin Cities Black Film Festival, October 15-17, Minneapolis & St. Paul, Minnesota.

Hawaii International Film Festival, October 14-24, Honolulu, Hawaii.

Austin Film Festival, October 21-28, Austin, Texas.

United Nations Association Film Festival, October 22-30, Stanford University, Palo Alto, California.

Mostra International de Cinema, October 22-November 04, São Paulo, Brazil.

Tokyo International Film Festival, October 23-31, Tokyo, Japan.

Birmingham Black International Film Festival, October 25-31, Bir-mingham, United Kingdom.

Amakula Kampala International Film Festival, October 29-November 06, Kampala, Uganda.

Savannah Film Festival, October 30-November 06, Savannah, Geor-gia.

Cinema Tous Ecran, November 01-07, Geneva, Switzerland.

Regent Park Film Festival, No-vember 04-07, Toronto, Ontario.

Leeds International Film Festival, November 04-21, Leeds, United Kingdom.

Cairo International Film Festival, November 10-20, Cairo, Egypt.

Portland African American Film Festival, November 11-14, Port-land, Oregon.

St. Louis International Film Festi-val, November 11-21, St. Louis, Missouri.

Amiens International Film Festi-val, November 12-21, Amiens, France.

Oslo International Film Festival, November 19-29, Oslo, Norway.

London African Film Festival (2 Day Conference: Filming Against the Odds, November 27-28, Lon-don, United Kingdom.

Cape Town International Film Festival, November, Cape Town, South Africa.

CineAyiti International Film Festi-val, December 02-06, Haiti.

Marrakech International Film Fes-tival, December 03-11, Marrakech, Morocco.

Black Soil International Hip Hop Film Festival, December 04-07, Rotterdam, Netherlands.

Bahamas International Film Festi-val, December 11-17, Nassau, Bahamas.

Fall 2010 Film Festivals

by Samuel Quartey of Animation Africa and Cilia Sawadogo of Con-cordia University in Canada. Animation Africa looks to ex-pand the possibilities in African animation by providing young ani-mators with the necessary tools for creative purposes. However, anima-tion has long been disregarded in terms of scholarly discussion.

New York African Film Festival. One of the leading scholars in her field, Callus’s goal is to “document the existence of animation in the Sub-Saharan region, and promote the circulation of these animations.”

With the combined efforts of academia and hands-on workshops, animation in Africa looks to have a promising future in film.

Paula Callus, Senior Lecturer at Bournemouth University, dedicates her academic profession to anima-tion in Sub-Saharan Africa. Callus has been involved in various organi-zations such as UNESCO’s African Animated Project, and Afrimation at the School of Oriental and African Studies in London. Callus has also curated programs for Africa in Mo-tion, Africa at the Pictures, Cam-bridge African Film Festival, and

Animafrik 2010 continued from page 1

VOLUME 1, ISSUE 3 PAGE 6

Call for Papers: Journal of African Cinemas

Journal of African Cinemas is a new peer-reviewed journal. They are accepting submissions for Volume IV scheduled for 2011. The theme for this issue is: The Many Cinemas of Africa. They are looking for submissions for theoretical essays, reviews, and com-parative analyses regarding African cinema through its historical and contemporary legacies. The journal concentrates on the grow-ing African cinematic society, as it interrogates African ontologies with regard to the African filmmaker’s conceptualization of space, time and identity.

Articles of up to 6,000 word will be considered. Please send both digital or/and hard copies to either one of the editors:

Keyan G. Tomeselli CCMS, University of KwaZulu-Natal, Howard College Campus, Durban 4041, South Africa

Martin Mhando. Intellect, The Mill, Parnal Road, Fishponds, Bristol BS16 3JG, United Kingdom, Intellect Books

Black Camera invites submissions for two special issues:

Fall 2012: Film Precious and the Novel Push by Sapphire

Fall 2013: Afrosurrealism in Film/Video

Essays, book and film reviews, interviews and commentaries will be accepted. Es-says should be 6,000-10,000 words. Interviews (6,000 words), commentaries (1,000-2,000 words), and book and film reviews (500-1,500 words) should also pertain to the theme of the journal issue.

Please submit complete essays, a 100-word abstract, a fifty-word biography, and a CV by October 25, 2011 (for the Fall 2012 Pre-cious/Push issue) and April 6, 2012 (for the Fall 2013 Afrosurrealism in Film/Video issue). Submissions should conform to the Chicago Manual of Style, 15th Edition; see the BFC/A for more on submission policy.

Direct all questions, correspondence and submissions to the guest editors:

Fall 2012: Suzette Spencer (University of Wisconsin, Madison) and Carlos Miranda (Yale University)

Fall 2013: Terri Francis (Yale University)

Black Camera: Call for Papers

The Africa Conference 2011 is inviting scholars to submit conference papers and full panel proposals for the 2011 conference on Africa in World Politics. The goal of this conference is to create an interdisciplinary dialogue concerning Africa’s contemporary and his-torical place in world politics. Africa is too often regarded as being on the periph-ery of the world political arena, when in fact the nations of Africa have played an important, although often tactically manipulated, role in global affairs. What was Africa’s historical place in world politics? How did independence and the Cold War change this locality? What is Africa’s role today and what needs to be done to insure that the African voice is heard in international forums in the future?

Abstracts, due by November 30, 2010, can be sent to:

Toyin Falola and Jessica Achberger/ Charles Thomas

Call for Papers: Africa Conference 2011,

Africa in World Politics

Black Camera Vol. 2, No. 1 Table of Contents for Fall 2010

Articles

Abdulkadir Ahmad Said: One the Front Line of African Cinema, Jane Bryce

“TIA—This is Africa”: Afropessimism in Twenty-First-Century Narrative Film, Martha Evans and Ian Glenn

Bigger at the Movies: Sangre Negra and the Cinematic Projection of Native Son, Thy Phu

Recovering Carib Gold, Amy Turner

Interviews

“Where Are You From?”: Performing Race in the Art of Jefferson Pinder, Mi-chael Martin with David C. Wall

Africultures Dossier

FESPACO 2009: Concern

Lesson of FESPACO 2009: “FESPACO’s Future Depends on its In-ternational Autonomy”, An Interview with Michel Ouedraogo

Bollywood/Africa: A Divorce?

Olivier Barlet

Poster Gallery: Coming Attractions

Documents

Resolutions of the Third World Filmmak-ers Metting, Algiers, December 05-14, 1973

The Algiers Charter on African Cinema, 1975

Archival News

Pressbooks: Advertisements, Merchan-dise, and More, Mary K. Huelsbeck

Just a reminder that if you plan to attend FESPACO, look into buying your plane ticket now. FESPACO takes place from Feb-ruary 26 to March 5th, 2011 in Ouagadougou, Burkina Faso. We hope to see you there!

FESPACO

BLACK FILM CENTER/ARCHIVE PAGE 7

Film Resources La Cinematheque Africaine

01 BP 2505 Ouagadougou

Burkina Faso

Tel: 226 30 75 38

Fax: 226 31 25 09

E-mail: sg@fespaco.festival.bf

Directeur: Ardiouma Soma

The African Script Develop-ment Fund

43 Selous Avenue

Harare, Zimbabwe

Tel: 263 4 733 404

Fax: 263 4 733 404

E-mail: asdf@icon.co.zw

Executive director: Ben Zulu

Africa Book Centre

Spécialiste en vente de livres sur le cinéma africain.

Tel: 44 20 78 36 30 20

Fax: 44 20 74 97 03 09

E-mail:

orders@africabookcentre.com

Mr. Danny, Mr. Tony

African Film Festival

154 West 18th Street, Suite 2A

New York, New York 10011

Tel: 1 212 352 1720

Fax: 1 212 807 9752

E-mail: nyaff@erols.com

Web: www.africanfilmny.com

Directrice: Mahen Bonetti

Ecrans d’Afrique

Magazine sur le cinéma africain.

Tel: 39 2 66712077

Fax: 39 2 66714338

Rédactrice: Alessandra Speciale

M-NET Corporate Communi-cations

Television

Tel: 27 11 32 95 07 18

Fax: 27 11 68 66 64 34

E-mail: dregisfo@mnet.co.za

Public relation: Regisford-Mtambo

The Pan-African Film Festival - PAFF

The largest film festival in the United States dedicated to the exhibition of films made by or about people of African descent.

Tel: 1 323 295 1706

Fax: 1 323 295 1952

E-mail: lapaff@aol.com

Web: www.paff.org

Media for Development Trust

19 Van Praagh Ave, Milton Park, P.O. Box 6755

Harare, Zimbabwe

Tel: 263 4 701 323

Fax: 263 4 729 066

E-mail: mfdvrc@pci.co.zw

Web: www.mweb.co.zw/mfd

Directeur: John Riber

BlackFlixx.Com

Web Network

Tel/Fax: 1 305 571 9754

E-mail: blackflixx@yahoo.com

President: Adrian Anderson

Festival del Cinema Afri-cano/Milano

Festival montrant près de 80 films africains et de la diaspora.

Tel: 39 2 66 96 258

Fax: 39 2 66 71 43 38

E-mail: coe@iol.it

Journées Cinématographiques de Carthage

c/o The JCC managing commit-tee,

Box 1029-1045, Tunis RP,

Tunisia

Tel/Fax : 216 1 26 03 23

Southern African Interna-tional Film & Television Mar-ket (Sithengi)

Box 1176, Auckland Park 2006, South Africa

Tel: 27 21 4308160

Fax: 27 21 4308186

E-mail: info@sithengi.co.za

Web: www.sithengi.co.za

California Newsreel

149 Ninth Street, Suite 420

San Francisco, CA 94103

Tel: 1 415 621 6196

Fax: 1 415 621 6522

E-mail: contact@newsreel.com

Web: www.newsreel.org

Contact: Cornelius Moore

Les Films du Raphia

26, rue Pierre Semard,

92320 Châtillon, France

Tel: 33 1 40 92 00 42

Fax: 33 1 40 92 00 16

E-mail: raphiajm@club-internet.fr

Directeur: Jean-Marie Teno

Newsforce Africa

Newsforce is a global satellite provider.

Tel: 27 11 48 22 790

Fax: 27 11 48 22 792

E-mail: mel@newsforce.co.za

Contact: Ms. Melanie Gibb

Le Festival International du Film de Toronto

2, Carlton Street, Suite 1600

Toronto, ON, Canada M5B 1J3

Tel: 1 416 967 7371

Fax: 1 416 967 9477

Programmatrice: Gaylene Gould

FESPACO

01 BP 2505 Ouagadougou 01

Burkina Faso

Tel: 226 30 75 38

Fax: 226 31 25 09

E-mail: sg@fespaco.bf

Web: www.fespaco.bf

Southern African Film Festi-val

1st floor Pax House,

89 Union Avenue,

P.O. Box CY 724 Causeway

Harare, Zimbabwe

Tel: 263 4 79 11 56

Fax: 263 4 70 42 27

E-mail: saff@zimsurf.co.zw

Programmatrice: Shuvai M. Chikombah

THE BLACK FILM CENTER/ARCHIVE The Black Film Center/Archive, founded in 1981, was the first repository for the collection and preservation of films and related materials by and about African Americans. Since that time, its collection has grown and its mission has broadened to include films of the African Diaspora. Our collection, which features many independent filmmakers, highlights the work of black writers, actors, producers, directors, and musicians in all aspects of film production.

Objectives

To promote scholarship on black film and serve as a resource for scholars, researchers and students in black film studies.

To preserve and expand the collection of historically and culturally significant films by and about black people.

To undertake and encourage research on the history, impact, theory and aesthetics of black film.

To promote the use of film as an educative and cultural agent for diverse audiences in the academy and beyond.

Foxy: My Life in Three Acts, Pam Grier and Andrea Cagan, Grand Central Publishing, 2010

Causes Won, Lost, and Forgotten: How Hollywood and Popular Art Shape What We Know about the Civil War, Gary W. Gallagher, University of North Carolina Press, 2010

Racial Stigma on the Hollywood Screen from World War II to the Present: The Orientalist Buddy Film, Brian Locke, Palgrave Macmillan, 2009

Cinema in a Democratic South Africa: The Race for Representation, Lucia Saks, Indiana University Press, 2010

Coonskin (film): Ralph Bakshi, African American, Organized crime, Police corruption, Con-fidence trick, Mafia, Live-action/animated film, Philip Michael…Gordone, Barry White, Scatman Crothers, Frederic P. Miller, Alphascript Publishing, 2009

*The Blood of Jesus: Race Movie, Spencer Williams (actor), Langston Hughes, African American,

Nightclub, Jesus, Dallas, Lost Film, Lambert M. Surhone, Miriam T. Timpledon, and Susan F. Marseken, Betascript Publishing, 2010

A Selection of Recent Publications on Black Film

Indiana University

Black Film Center/Archive Wells Library, Room 044

1320 E. Tenth St Bloomington, IN. 47405

Phone: 812-855-6041 Fax: 812-856-5832

E-mail: bfca@indiana.edu

Blog: http://blackfilmcenterarchive.wordpress.com/

The Black Film Center/Archive’s poster and lobby card collection comprises over 700 posters and lobby cards dating from 1915 to the present. Highlights of the collection include posters and

lobby cards for all-black-cast films produced by Richard Norman in the 1920s, blaxploitation films from the 1960s and 1970s, and nearly 300 African movie posters, constituting the largest and most diverse collection in the United States. The acquisition of posters and lobby cards for

films from every decade is ongoing.

The Black Film Center/Archive recently received the annual circula-tion report for its academic journal Black Camera. Since July 2009, over 1,732 individuals and institu-tions subscribe to the journal.

We are very pleased that the con-tent of this journal, which includes interviews with important directors and artists and essays by prominent scholars, is circulating and reaching those who want to know more about African and African-American film.

Thank you to all our supporters!

If you are interested in subscrib-ing to Black Camera individually or for your institution, please contact Indiana University Press (1-800-842-6796) or IUP Order. You can chose to have print, electronic, or both print and electronic subscrip-tions.

Black Camera Circulation Report