The Next Black Cinema:
The Past Redefining the Present and Shaping the Future
There is a West African term which is also the name of a film: Sankofa, which embodies the idea that whatever we as a culture have lost or forgotten can once again be reclaimed, revitalized, and renewed. The same can be said for the state of Black Cinema. Though there have been significant strides made by actors, directors, and producers of color in Hollywood, there is still much more ground to cover. Money, racial bias, and lack of distribution are hurdles the struggling amateur filmmaker continually faces.
With the ever evolving technology of the internet, more affordable film equipment, and the ability for filmmakers to network with one another, the need to go through the Hollywood machine is not as crucial as it used to be. Still the question begs to be asked; “Will the next generation of Black Cinema filmmakers create productions solely for entertainment purposes, or will they focus on cultural enlightenment as well?”
The roles Blacks “had” to play
During the early days of film, Hollywood forced Blacks into stereotypical roles revolving primarily around servitude. A perfect example is D.W. Griffith’s Birth of a Nation (1915). While technically advanced for the time period, this film was a blatant promotion for the KKK. Film pioneers sought to combat this wave of negative portrayals by creating cinema that showed us in a positive, more realistic light. There was the Lincoln Motion Picture Company founded in 1916 as well as filmmakers like Spencer Williams, Jr. and Oscar Micheaux who lead the change.
While the first phase during the early 1920’s was short lived, it was resurrected in the 1970’s with legends such as Gordon Parks, Melvin Van Peebles, and Ivan Dixon who ushered in what we have affectionately come to know as the Blaxploitation era. This work subsequently inspired directors of this generation such as Spike Lee, John Singleton, Antoine Fuqua and F. Gary Gray.
There has always been the concept of “Sankofa”
Outside of mainstream Hollywood production, there have always been those who have utilized the idea of Sankofa in their work. Take Julie Dash for example, whose film Daughters of the Dust (1992) exemplified the past redefining the present and shaping the future. The innovative technique of this film that deals with the issue of holding on to cultural traditions, was that the narrative was told by an unborn child. There is also the movie Sankofa (1993) itself, directed by Halie Gerima, which transports the main character back in time where she experiences African culture at its essence, not the manufactured constructs that we have been lead to believe in today’s conventional society.
These types of movies while being culturally enriching, require the viewer to look past the obvious and search for the deeper meaning. Such is the case with the Next Black Cinema. It must not just entertain, but it must also inform and enlighten the viewer to aspects of existence that they may not otherwise discover through any other medium. There is no denying the effect one experiences when seeing a story told on the big screen. Those larger than life images tend to echo our very existence, but when our realities aren’t accurately represented, stereotypes tend to run rampant and define us all with one broad stroke.
Executive positions held by the majority, still hampering growth
We are all too familiar with the reasons given by Hollywood for not greenlighting Black Films:
- Only black audiences will go see them.
- Not enough return on investment.
- Only proven formulas work; i.e., plots revolving around comedy, black and white buddy drama, hoodlums, thugs, rappers, and/or sports.
Most blacks who have worked in the industry elude to the fact that this mindset continually perpetuates the manipulation and abuse of executive positions in Hollywood. The reality is that these positions are still held by a majority of white males who have a vested interest in preserving the status quo. There are enough powerful and noteworthy brothers and sisters in front of, as well as behind the camera who realize this. These same people also realize Hollywood is slow to change, so they are starting to produce their own films and bankrolling other independent filmmakers.
While technology is making it easier for aspiring filmmakers to tell their stories, there are still the hurdles of race and investment that hamper attempts to produce quality work. However, when these productions are made, they also need to remind the viewing audience that our struggle is the world’s struggle. Knowing we came from greatness can and will help us to once again reclaim it.
-Sly Gantt
