Oct 5, 2021
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Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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I missed Ava DuVernay’s talk at BAM but I got a chance to hang with the Array team at Afropunk and show my support for black movie history. I’ve been a fan of Ava’s since one of her earlier works, I Will Follow, and this woman continues to amaze me film after film. I admire her tenacity for telling diverse stories and appreciate her commitment to advancing the voices and the visions of women and POC in film. I’m patiently awaiting her next project, Central Park Five, which she’s currently filming in NYC. This film, based on a true story, will blow your mind, and by the looks of the cast, will sure to be an Oscar contender... . . . #avaduvernay #array #arraynow #arrayrebel #arraypunk #afropunk #brooklyn #blackmoviehistory #blackfilm #iwillfollow #centralparkfive #blackfilmmakers #blackwomeninfilm #juliedash #daughtersofthedust #blackgirlmagic #blackcinema #diversityinfilm #blackindiefilm (at Afropunk Festival) https://www.instagram.com/p/Bm8HhJzHEDf/?utm_source=ig_tumblr_share&igshid=1bo9e68ax5rz4
In honor of Juneteenth, I saw a beautiful film the first wife theatrical release by a Black female director Julie Dash. 1991’s Daughters of the Dust is a mystical, evocative, visually gorgeous film about the struggle between the past and present, the old remaining true to its land, it’s past and history and the restless new wanting to move on. #daughtersofthedust #juliedash #juneteenth #filmnerd https://www.instagram.com/p/CQU81CiB-Tz/?utm_medium=tumblr
#TimeTravel “the ancestor and the womb, they are the same” ♾ clips + stills from ‘daughters of the dust’ (1993) directed by #JulieDash cinematography by #ArthurJafa —— #ListeningToImages #Archives #SonicFrequency #Moodboard #HapticImages #ArchiveOfArchives #BlackVisuals #BlackGaze #DigitalArchives #AfricanArchives #Listening2Images #CathodeRay #CathodeRayStudio #DaughtersOfTheDust #ArthurJafa #Cinematography #AfricanAncestors #AfricanSpirituality #IgboLanding #AncestralHealing (at Igbo Landing) https://www.instagram.com/p/COc6WG8JYcn/?igshid=wwpi8t6dvot7
#Repost @postcreditsdean with @get_repost ・・・ #BlackStoriesMatter Picture credits - @thepowerthread #JulieDash #Gullah #SeaIsland #DaughtersOfTheDust #Illusions #ShortFilm #Beyonce #Lemonade #FeatureFilm #Kanopy #CriterionChannel #BlackWomen #africanamerican #BlackDirectors #WomenDirectors #PeopleOfColor #WomenOfColor #ThePowerThread https://www.instagram.com/p/CC-O6L4szvu/?igshid=1md6h2oqo1q79
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Awesome last class with my Black Flix students. Only the Finals left ehen they pitch filma make by legends like #CharlesBurnett #LarryClark #JulieDash. Opps are those all #Bruins ? #TheProfLife #LivingInMotion #Bruin4Life https://www.instagram.com/p/B5mZ32RHX2F/?igshid=1mxtoq1gddlzp
You're Breaking Up: Audio Dislocation as Identity in Julie Dash's “Illusions”
What is so striking to the viewer in Illusions is that, right away, Dash hits us with an array of sound dislocations that make one question if they were intentional (which I will argue), or if they were all simply a set of "mistakes" in production and/or the editing room--From the very first scene, there are what seem to be miscues in dubbing, poor quality inserts, questionable mic work in general, and music that overpowers dialogue.
Most of the shots where this is happening are of the female Producer discussing with the Studio Head "bringing the reality of war" to the screen, while her dialogue is overridden by some of the previously mentioned "effects”. This approach is arguably utilized by the director in order to produce a critical/metaphorical reflection of the black female Producer’s status as a citizen and human being within the Hollywood/US cultural environment of 1942--That is to say, as the Producer character states later on, "(t)hey see me, but they can't recognize me". She is there, but her identity as a human being is fractured, shifted, dislocated across the scrim of cultural interfacing to the point that, like the unnamed character in Ralph Ellison's Invisible Man, she is not truly seen.
One of the most cunning usages of these auditory dislocations is that, after setting the identifying tone of the female Producer (named Minion Dupree; her first name being a clever ironic touch), they disappear when the scene moves to the sound stage where we see a black singer overdubbing the song of a white actress on screen (a common practice in the film industry of the time). Here, most of the audio dislocations are then transferred to the visual plane, where the faces of the white sound engineer and Studio Head are refracted and displaced in the window separating the mixing booth and sound stage.
Soon after this scene, we find Dash exquisitely bringing back and utilizing the audio “distortions” to signify another identity that is fractured: that of the singer. While it is obvious that the black girl is singing the part of the white actress on screen, what is so brilliant about Dash's work in this scene is that the viewer gradually realizes that even this signer is being over-dubbed (!)
By using these formal cues to bring attention to the filmic medium itself (a la Jean-Luc Godard), Dash enables the fractured, overwritten, and abused voices of black women to become fully heard and out in the open.
Up late night teaching. Learning about #CharlesBurnett #LarryClark #JulieDash #MichaelSchultz #PaPaSembene and many MORE!! #TheProfLife #LivingInMotion #BlackFlix https://www.instagram.com/p/B3n6SLch_2m/?igshid=znandsozl7qz