Showing posts with label jewish producer. Show all posts
Showing posts with label jewish producer. Show all posts

Friday, November 17, 2017

No White Guilt News


Review: 'Mudbound' Is a Racial Epic Tuned to Black Lives, and White Guilt
Ms. Jordan's book occasionally wanders in the direction of this kind of soothing, redemptive storytelling — the white characters are split a bit too neatly ...
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Are we ignoring dead canary's song?
... founding, countless Confederate leaders repeatedly stated their purpose was not only to preserve slavery, but white supremacist slavery. Anyone ...
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Ta-Nehisi Coates Speaks on the Reward of Resistance
In response to an audience question on what one can do about White guilt – which Coates calls the recognition of power being used unjustly – and ...
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Sunday, November 12, 2017

Taking A Knee For South African Farmers

Mr Midnight Movie is helping bring awareness to the slain farmers in South Africa.  This is a problem that has remained off of the media's radar for too long!


Saturday, August 12, 2017

Possible 2017 White Guilt Movie Of The Year is DETROIT

All the signs were there, and the violent beat-down film has made an early move to the lead for possible white guilt film of the year.  Of course official announcements of the voters will be announced at our 2017 MMM and JP Film Critics Awards late late in the year.
To date, neither MMM or JP has even seen this udder piece of junk, but we do reckon watching this film will only finalize our current position so no rush.

This article supports this early thrust to the top for the film DETROIT:

The film ‘Detroit’ has good intentions. We all know how that tends to work out.


 

Fifty years ago this summer an urban rebellion took place. 159 riots erupted in African-American cities across the country. The civil unrest took place in cities like New York, Atlanta, Chicago, Birmingham, and Boston.  The worst riots that summer were in Newark, New Jersey and Detroit, Michigan.
The movie “Detroit” attempts to capture the eponymous riot of 1967.
“Detroit” shows how the past is present or as novelist William Faulkner has said “In fact, it’s not even past” in terms of the killing of unarmed African-American males and the unflinching impunity bestowed to police officers by focusing on the brutal confrontation at the Algiers Motel the evening of the riot.
While summer flicks are known fondly as “popcorn movie season” the film “Detroit” is difficult to digest.
The dynamic duo – filmmaker Kathryn Bigelow and screenwriter Mark Boal – who brought us the 2008 Oscar winning action-filled war film “The Hurt Locker” has once again collaborated in transforming a real life event into high art with “Detroit.”  However, with raw depictions of street violence, inexplicable scenes of an aggregation of law enforcement –  Detroit police, Michigan state troopers, national guardsmen, and private guards – descending on the Algiers Motel, and the constant images of the racial tropes, ” Detroit,” critics have rightly stated, is “disappointingly one-dimensional” and “unnuanced.”
More vocal critics have posed this question: Who was the film’s intended viewing audience?
“Detroit” is “a movie for white people. For some white viewers, Bigelow’s film may invoke horror, even righteous anger. But with a white audience so firmly at its core, the images of violence in the film, designed to be visceral, in your face, and to inspire outrage and disbelief, inspired nothing in me but pessimism and spiritual exhaustion. The violence isn’t shocking. It’s just sadly familiar, and that isn’t interesting or illuminating to me as a black viewer in 2017,” Huffington Post senior culture writer Zeba Blay stated.
I, too, was spent after viewing the film.  My spouse left the theater shaking and crying, conveying how demoralized she felt. Reverend Emmett Price, my co-commentator on our weekly Monday segment “ALL REVVED UP” on WGBH Boston Public Radio stated, “It was two hours and 23 minutes of the muting, maiming, torturing and murder of black bodies. That’s the movie.”
Because both Bigelow and Boal are white queries abound about cultural appropriation and exploitation, asking whether white artists can sensitively and appropriately depict black pain and oppression.
Bigelow, knowing she didn’t have the cultural heft, asked herself that question, too.  “I’m white, am I the right person to do it? I thought, ‘Am I the perfect person to tell this story? No’,” she told Variety.  “However, I’m able to tell this story, and it’s been 50 years since it’s been told.”
With good intentions (and I convey that without sarcasm) as a way to leverage her white privilege Bigelow wanted to expose today’s indiscriminate death sentence black men (Michael Brown, Tamir Rice, Trayvon Martin, Philando Castile, etc.) encounter too often with white cops that’s hauntingly similar to what black males encountered with white law enforcement officers five decades ago in the 1967 riot. Bigelow’s high hopes was that the film would spark our country’s needed dialogue on race; therefore, emphatically stating to The New York Times, that ”to do nothing was not an answer.”
Bigelow felt given her filmmaking crops and a top-notch all white crew with one renowned black consultant (Detroiter and scholar Michael Eric Dyson) she was equipped to tell the story.
Sadly, she wasn’t. The balance between depicting the horrors of racism without valorizing or demeaning black trauma was eclipsed in “Detroit”, inviting an avalanche of African-American movie and cultural critics to chime in.
New York Times critic John Eligon, for example, stated that “Bigelow found herself engaging in another basic journalistic practice: immersing herself in unfamiliar lives and experiences, and trying to make sense of them.”
It’s too simplistic to say that stories of people of color should only be the province of people of color. Wasn’t a similar polemic once expressed about Shakespearean plays having only white actors back in the day?
Bigelow’s problem, for me, is that she didn’t tell a good story, because she did not have the complete history of the riot, but told the story, nonetheless.
Perhaps, had Bigelow had access to John Hersey’s book The Algiers Motel Incident – which has police records, series of interviews from survivors, witnesses and families of the slain men – she might have presented a better narrative.
Instead, Bigelow did what she does best – an auteur-driven film – displaying her vast cinematic skills to obfuscate her lack of knowledge and absence of a plausible narrative arc.
With graphic images of white barbaric cruelty inflicted on black bodies, the main character is -unquestionably – violence. The emotional arc of “Detroit” being black helplessness, the film evokes anger rather than thought, political action, and coalition building in this era of “Black Lives Matter.” Bigelow not only fails at Screenplay 101 she tanked her efforts to make a difference.
How much of Bigelow’s passion to tell the story of the 1967 Detroit riot – especially in the way she did – was out of white privilege, white guilt, arrogance, or ignorance, I’ll leave it up to the viewer to decide.

Wednesday, July 19, 2017

Inflammatory Talk Season 6 Coming

Inflammatory Talk, a podcast created by Mr Midnight Movie and Jewish Producer will begin the 6th season in August, 2017.  Now in their 6th year of podcasting, MMM and JP have been discussing segment ideas and aligning potential interviews for the new season.

Also look out for discussions with classic callers such as Debi Daly, Beppe Grillo, Chris Nelson and The Great Andy Bong. 

Tuesday, May 9, 2017

White Guilt: Still Wrong

It has always intrigued me: the trope of a white person travelling abroad to “find themselves.” Turn on the TV, open a magazine, look to your left: there it is. Furthermore, despite being the minority in many of these countries, white people still manage to inject their privilege into every aspect of their experience, all under the guise of “exploring and understanding.” This is called white guilt. The classic Hollywood-spun tale of a group of Caucasians briefly changing their race or cultural practices, but refusing to relinquish any privilege.
Films like Seven Years in Tibet, the Last Samurai, even James Cameron’s Avatar, support the problematic view of the white man as the savior to the savage peoples of the “outside” world. Often in these films, the citizens of the country being visited are portrayed through stereotypes and very little meaningful dialogue with the main character. White mainstream media’s opinion of brown people is so consistently low that when important roles do arise for people of color, they are given to white people with vaguely ethnic features. At this point, any depiction of a brown person by someone who is not a person of color is invalid. In a world where white people are being constantly praised and rewarded for having basic human decency and understanding of culture, we have a lot of work ahead of us.
Until we stop encouraging white mediocrity in our media, we will continue to disenfranchise a growing population of young people of color looking for their place in their own cultures. Few things are more affirming than seeing yourself reflected back in a positive light. Representation and mentorship allow people of color to set our goals high, make mistakes, follow our hearts and to grow and glow, unhindered by expectation.
The brown people of the world do not exist to answer your existential questions. We are not props or costumes. White fragility is not sponsored by the continents of Africa and Asia. So the next time you find yourself presented with an opportunity provided to you by your privilege, wield it with intention. Accurate and positive representation is such an infinitely powerful tool and one that is well within our grasp.

Link: https://www.lawrentian.com/archives/1010580

Tuesday, April 25, 2017

Tom Tancredo Discusses White Guilt

http://www.newsmax.com/t/newsmax/article/786097?section=Newsmax-Tv&keywords=tom-tancredo-white-guilt-racism-immigration&year=2017&month=04&date=24&id=786097&aliaspath=%2FManage%2FArticles%2FTemplate-Main&oref=www.google.com

Thursday, January 12, 2017

Sunday, January 1, 2017

Book Recommendation





White Guilt by Shelby Steele
ISBN: 0060578629
Publication Date: 2006-05-02

Friday, November 18, 2016

Thursday, October 27, 2016

Friday, March 4, 2016

Jewish Producer Gets Active


Yeah, Jewish Producer has kept a low-profile in the early stages of Mr. Midnight Movie's film production.  He has been putting pieces together, strategically, like a puzzle.  Recent advancements in the project have the small crew anxious and unusually busy.  Also, MMM and JP have been sporadically airing shows on Spreaker, a known online-radio network that has provided them with a modest service, for about a modest cost.  The 45-minute "podcasts" are a jamboree of thoughts and issues discussed, sometimes over and over, until some sort of consensus is reached.  The content of these shows has not been particularly thought out, but has been more of a ad-lib attempt to develop rhythm and harmony, possibly some simpatico.

Check out the app to your right to listen to our latest episode, recorded live on Spreaker.

Monday, December 21, 2015

JP FOR JESUS

Monday, November 23, 2015

Saturday, October 17, 2015

ARTICLE: ‘Truth Be Told’s’ Will Packer on Mark-Paul Gosselaar’s ‘White Guilt’ and Why ‘Roots’ Doesn’t Hold Up


“There’s not a fun nostalgia with ‘Roots’ that makes parents and grandparents say, ‘Come, kids, let’s sit around and watch this,” producer tells TheWrap. 
 
The producer’s “Straight Outta Compton” was the No. 1 movie at the U.S. box office for three straight weeks in August, during one of the most competitive times of year. This fall, he turns his sights to television.

Read MORE here!

Tuesday, September 22, 2015

Wednesday, August 19, 2015

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