Like a film, Afrofuturism itself began in sound – music. To this day, it still remains a staple of many black musicians, even if not as overt as in the case of Sun Ra.
C. Scott Jordan
It is such a strange word. Even by English standards. Swastika. This odd combination of consonants and vowels makes for something almost as startling as the symbol itself.
My seat was in Iraq. It sounded like as good a place as any for me to colonise my Made in the US of A posterior for the evening’s performance. I cannot believe this act of irony was the product of chance alone.
How do we navigate these turbulent postnormal times of contradictions, complexity and chaos, of uncertainty and ignorance? What values do we need to pilot our way to a sane and humane new paradigm?
A new distinct shadow is emerging within contemporary American film. This new other does not have a proper face so it cannot be furnished with appropriate make up, accent and other character tropes.
This is the age of superheroes. Hardly a month goes by without a new superhero flick. If cinema is the engine of empire, as Ziauddin Sardar and Merryl Wyn Davies tell us in American Terminator, then a declining empire indicates that the engine itself is in serious trouble.
The Revenant at face value is a story of a man who survives a brutal bear attack to then seek revenge on those who killed his son and left him for dead. Could a story be more appealing to American audiences?
Once you’ve seen one American war-in-the-Middle-East movie, you’ve seen them all. That’s what I thought. But the controversy surrounding American Sniper somehow persuaded me to pay a visit to my local multiplex.