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The Enduring Rage of Baldwin and the Education of a White Southern Baptist Queer

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

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
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Catherine Millet, Virginie Despentes

its author’s status as editor of the respected magazine Art Press . The success of this work undoubtedly has much to do with its status as the erotic confession of a notably intellectual woman; but this does not by itself account for the book’s popularity. For Millet’s text also owes its success to the highly contemporary aesthetic drama it plays out – a drama all about contact and distance. An erotic memoir can hardly fail

in The new pornographies
Documentary form and audience response to Touching the Void

Touching the Void, and its story of disaster and survival against the odds carried huge emotional clout for some commentators and audiences. But the film is also significantly different from the format of Rescue 911 and its imitators. Firstly, Simpson and Yates do not constitute the family unit preferred by such shows. (Despite Simpson devoting his memoir to Yates for saving his life, their friendship has in fact waned in the years since the climb, as noted in numerous press articles about the film.) Secondly, Simpson’s story is largely one of self-rescue, of endurance

in Watching the world
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between people’s experiences. The monstrousness of a collapse into sameness, where everyone would experience things and remember them in exactly the same way, was touched on in Marker’s Mémoires pour Simone . It is by acknowledging, rather than denying, these necessary distinctions and specificities that the drive towards connectedness is established. Fur and scales come to matter as much as human flesh in Marker’s various

in Chris Marker

in different ways in Sans Soleil (1982), 2084 (1984), and L’Héritage de la chouette (1989). Additionally, the latter, a television series, constitutes Marker’s first sustained use of video in his filmmaking. Yet these, and especially the other films of this period ( Junkopia (1981), AK (1985), and Mémoires pour Simone (1986)), retain their connection to earlier media technologies. Marker’s work of the 1980s is

in Chris Marker
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direction. While it is adapted from a literary work, this time the precursor is not a classic novel but Mariane Pearl’s heartfelt memoir of her husband’s life and hideous death. Whereas with the adaptation of a novel the filmmaker can feel as free as he likes in which elements of the antecedent text he chooses to emphasise, in relation to the filming of a real-life story, and a tragic one at that, one is reminded of David Lodge

in Michael Winterbottom
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movies, Saturday Night and Sunday Morning , Isadora , The Gambler and Dog Soldiers/Who’ll Stop the Rain ). It also accounts for a private mystery. In her vivid and engaging memoir, The Memory of All That , Betsy Blair writes she fell in love with Karel not just on account of his charm and wit and intelligence, but because “I know I’ll always be interested in him, intrigued by him.”’ 5 For Lambert

in Karel Reisz
One Billion Rising, dance and gendered violence

: 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
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Doing what you want to do

desperate search for Pearl (Dan Futterman) [a Wall Street Journal reporter and Winterbottom’s third journalist protagonist] before the release of the appalling video showing him being beheaded. It is told largely through the eyes of and based on a memoir by his widow, Mariane. 5 This is not, it seems, merely an exciting

in Michael Winterbottom