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The Enduring Rage of Baldwin and the Education of a White Southern Baptist Queer
Jon-Marc McDonald

Delivered in Paris at the 2016 International James Baldwin Conference just two weeks before the killing of 49 individuals at a LGBT nightclub in Orlando, Florida on 26 June 2016, “Relatively Conscious” explores, through the eyes of an LGBT American and the words of James Baldwin, how separate and unequal life remains for so many within the United States. Written in the tradition of memoir, it recounts how, just as Paris saved Baldwin from himself, the writer’s life was transformedupon the discovery of Baldwin.

James Baldwin Review
James Baldwin’s American South
Jeff Fallis

James Baldwin has frequently been written about in terms of his relationship to geographical locations such as Harlem, Paris, St. Paul-de-Vence, Istanbul, and “the transatlantic,” but his longstanding connection to the American South, a region that served as a vexed and ambiguous spiritual battleground for him throughout his life and career, has been little discussed, even though Baldwin referred to himself as “in all but no technical legal fact, a Southerner.” This article argues that the South has been seriously underconsidered as a major factor in Baldwin’s psyche and career and that were it not for the challenge to witness the Southern Civil Rights movement made to Baldwin in the late 1950s, he might never have left Paris and become the writer and thinker into which he developed. It closely examines Baldwin’s fictional and nonfictional engagements with the American South during two distinct periods of his career, from his first visit to the region in 1957 through the watershed year of 1963, and from 1963 through the publication of Baldwin’s retrospective memoir No Name in the Street in 1972, and it charts Baldwin’s complex and often contradictory negotiations with the construction of identity in white and black Southerners and the South’s tendency to deny and censor its historical legacy of racial violence. A few years before his death, Baldwin wrote that “[t]he spirit of the South is the spirit of America,” and this essay investigates how the essential question he asked about the region—whether it’s a bellwether for America’s moral redemption or moral decline—remains a dangerous and open one.

James Baldwin Review
One Billion Rising, dance and gendered violence
Dana Mills

: both public spaces reinhabited by the moving body and the singular bodies composing this process and intervening in public spaces. The ruptured body contracts into itself and releases into a new public sphere, in which 84 84 Dance and politics it is treated with dignity and respect, regardless of the intention of the founder of this movement. One Billion Rising: dance against violence in ethos and practice I invite the founder of One Billion Rising, Eve Ensler, to take centre stage. She discusses the ethos for the movement in her 2013 memoir, In the Body of the World: A Memoir

in Dance and politics
Open Access (free)
The early films of John Marshall and Timothy Asch
Paul Henley

. Then, again as in the earlier film, the event is allowed to play itself out without any further narration. The Feast has a great number of merits and is considered by many to be a classic of anthropological filmic pedagogy. However, it also suffers from certain limitations. In the first place, it is clear from the very honest memoir that Asch published some years later that he was barely able to keep abreast of what was going on. The social complexities of the shoot were

in Beyond observation
Open Access (free)
Civil rites of passage
Sharon Monteith

‘presentism’, whereby the pressures of the present distort our understanding of the past. 6 Character-led dramas (often based on autobiographical novels, and memoir – like Crisis at Central High , Heart of Dixie, and Passion for Justice: The Hazel Brannon Smith Story ) promote a single monologic point of view to create what has ubiquitously come to be known as a ‘useable past’, in which resolution and

in Memory and popular film
James Downs

. 40 H. E. Fowler, ‘A guide to the appreciation of the historical photoplay Victoria the Great ’, Photoplay Studies 3:8 ( 1937 ), pp. 8–9. 41 Christopher Robbins, Empress of Ireland. A Memoir of Brian Desmond Hurst (London: Scribner, 2004 ), p. 320

in The British monarchy on screen
Open Access (free)
Sarah Bernhardt, Queen Elizabeth and the development of motion pictures
Victoria Duckett

See Sarah Bernhardt’s comments about this ‘band of students’ called the ‘Saradoteurs’ in Paris in Sarah Bernhardt, Ma Double Vie: Mémoires de Sarah Bernhardt (Paris: Eugène Fasquelle, 1923 ), p. 290. See also Suze Rueff, who relates in her biography of Bernhardt that Bernhardt ‘drew to the Odéon the students, the midinettes and the artisans of the rive gauche ’. Suze Rueff

in The British monarchy on screen
Open Access (free)
Jeffrey Pence

seen ideological critique turn inward upon itself, nostalgia remains – nostalgically, of course – a sign of false consciousness, of individual and mass delusion leading to commercial, critical and political vulnerability. Beyond the various monuments, lieux de memoires , television shills in documentary form, fashion revivals, musical retreads, pop cultural recyclings, political atavisms, religious

in Memory and popular film
Open Access (free)
Fixing the past in English war films
Fred Inglis

its high-walled gardens; the other three were killed. Thompson broke protocol by running forward to the Sherman under rifle fire, to call down into the turret. He received no answer. It was a tiny exploit in that formal operation, the liberation of Perugia, itself part of the larger victory in Italy and, ultimately, the victory in Europe. But Thompson’s memoir goes beyond the

in British cinema of the 1950s
Queen Victoria, photography and film at the fin de siècle
Ian Christie

portraying royal ceremonial was advancing. The best known of these comes from the memoir by the pioneer producer Cecil Hepworth, who had positioned three cameras along the route of Victoria’s funeral procession. He operated one of the cameras, positioning himself inside the railings of Grosvenor Gardens, opposite Victoria station. As the procession approached, headed by the new King, Edward, Hepworth began

in The British monarchy on screen