Celebrating Juneteenth with FilmStruck By Quatoyiah Murry
Just a few decades shy of cinema’s birth, the majority of Black Americans that resided in the southern United States were considered the property of someone else. As slaves, African Americans were forced to do hard labor without benefits, income to invest, guarantee of safety, prosperity or agency over their live. In 1862, with America in the midst of Civil War, president Lincoln declared slavery illegal in the Emancipation Proclamation which took into effect in 1863. This executive order was meant to bring freedom to those enslaved—an admirable but long unkept promise in our country— however it would take another two years before it would become official. It was on June 19th, 1865 that Union soldiers marched into Galveston, Texas, the last remaining state in which the Emancipation had not been enforced, to announce that the war had ended and all slaves were free, resulting in freed men, women and children rejoicing in the streets. Today, 45 states in America recognize “Juneteenth” as a holiday.
As the turn of the century approached, cinema began to take shape and its influence hit new heights by the early 1900s, and while minorities across the country tried to break into the burgeoning world of filmmaking, white men led the charge on how groups of people were represented to the masses. The images that flickered onto screens across the country implanted itself into the consciousness of the people who watched. Although African Americans of the early 1900s persevered and fought for their seats at the table, it would be another 60+ years before a Black man could break through to tell his own story on film while drawing audiences of all colors into the theater.
That is why today on June 19th, I think it’s important—especially this year and moving forward—to honor this special day, it’s legacy and its meaning through honoring members of the African diaspora by hearing and seeing their stories from their own talents and experiences. FilmStruck, perhaps more than any other streaming service, has an amazing selection of films from the African diaspora. Each one of these films are beautifully shot, intriguing and unique tales, perspectives and ideas illuminated on screen. To watch these films is not only an exercise in enriching your own personal taste and thoughts on the world at large, but it gives power to the storytellers and artists that challenged the status quo, while educating and entertaining audiences.
The following is a current list of all the films on FilmStruck and within the Criterion Collection directed by, starring or about African Americans and members of the African diaspora:
AUTOBIOGRAPHY OF MISS JANE PITTMAN (‘74) – Cicely Tyson won the Actress of the Year Emmy award for her portrayal of a slave who recalls a century of her astounding life after the Civil War.
BLACK ROOTS (‘70)– The Black experience and the beauty of African American culture is woven together by a room of blues and folk musicians in this engaging documentary.
LOSING GROUND (‘82)– African American playwright Kathleen Collins’ became the first Black woman to direct a feature film with this story of a bored, married intellectual in search of passion.
MY BROTHER’S WEDDING (‘83) – The follow-up film to Charles Burnett’s groundbreaking KILLER OF SHEEP (‘78), this comedic drama set in South Central took Burnett over 20 years to complete.
NESHOBA: THE PRICE OF FREEDOM (2008) – In 1964, three activists were brutally murdered by members of the KKK in Neshoba County, Mississippi. It took almost 40 years before anyone was charged for the crime. This documentary explores the conflicting ideologies and racism of Neshoba county residents then and now.
YOU GOT TO MOVE (‘85) – A documentary chronicling the journey of advocates for social change through the Highlander Folk School in Tennessee.
BLACK GIRL (‘66) – A Senegalese woman in search of work takes a maid job for a white French couple that displaces and subjugates her in this beautifully shot, arthouse tale. This film marked the feature-length debut of Senegalese director and “father of African film” Ousmane Sembène.
BOROM SARRET (‘63) – This 18-minute short illustrating poverty in Dakar marks the directorial debut of Sembène and has the distinction of being the first film solely directed by an African.
GUELWAAR (‘92) – Sembène’s look at religious fervor when Christians and Muslims clash over the burial of a political activist.
HYENAS (‘92) – A rich woman returns to her home village promising lavish gifts and wealth to her peers, but first they must right an old wrong for her.
KABALA (2002) – When a village’s holy well gets contaminated, they must reconcile whether to have faith in old customs or let a returning villager with knowledge of science help.
LA NUIT DE LA VÉRITÉ (2004) – A West African country engaged in a decade long civil war is on the brink of peace negotiations but with tensions high for so long, peace proves difficult.
MOTHER OF GEORGE (2013) – After moving to Brooklyn, a newlywed Nigerian couple endures the pressures of their culture when they begin having problems conceiving a child. As the pressure rises, so does their desperation.
RÊVES DE POUSSIÈRE (2006) – A Nigerian peasant relocates to a gold mine in north Burkina Faso only to discover the gold rush has ended, which forces the peasant to become aware of his present situation as well as the past that still haunts him.
SEMBENE! (2015) – A documentary reflecting on the stunning career and revolutionary work of Senegalese director Sembène.
TOUKI-BOUKI (‘73) – A mischievous young couple living in Dakar does whatever it takes to leave their home behind for the glamour of France in this gorgeously shot, surreal adventure.
XALA (‘75)– Sembène’s political satire about a bigamist businessman struck with impotency the night before his wedding to his third wife.
YEELEN – This surreal gem follows a young man’s escape from his father who is hell bent on killing him. The son travels far and wide in search of an uncle who can provide him the power he needs to defeat his father.
African Americans in Hollywood
BLACK BELT JONES (‘74) – Martial artist Jim Kelly stars in his own action drama as a hero who must fight the mafia and a local drug dealer.
CABIN IN THE SKY (‘43) – Lena Horne, Ethel Waters and Rex Ingram star in MGM’s all-Black musical about a woman’s desire to save the soul of her wicked husband.
CLEOPATRA JONES (‘73) – Tamara Dobson stars as a beautiful but deadly undercover agent battling drugs on the streets.
DOLEMITE (‘75) – Famed comedian Rudy Ray Moore wrote and produced this unbelievable gem about a pimp who gets framed by his rival and sets out for revenge after a 20-year stint in prison.
THE EMPEROR JONES (‘33) – This Paul Robeson pre-Code loosely based on a Eugene O’Neill play was made independently and distributed by United Artists. It is now one of Robeson’s most recognizable roles.
KING SOLOMON’S MINES (‘37) – A British adventure film starring Robeson as an African guide to a group of explorers searching for their missing party member.
THE MACK (‘73) – Fresh out of prison, an Oakland resident makes plans to gain power and wealth in the city as a pimp only to discover that pimping ain’t easy.
PAUL ROBESON: TRIBUTE TO AN ARTIST (‘79) – A documentary about the harrowing art and political career of revolutionary star Paul Robeson.
SANDERS OF THE RIVER (‘35) – A British production starring Nina Mae McKinney and Robeson. Although the depiction of Africans was meant to be handled with care, Robeson disowned the film for its imperial angle that was added last minute.
SHAFT (‘71) – Gordon Parks’ breakout hit (the success of which saved MGM studios from bankruptcy) about a private detective hired to rescue the daughter of Italian gangsters.
SUPER FLY (‘72) – Gordon Parks Jr. followed in father’s footsteps with this iconic crime drama following a cocaine dealer’s attempt to leave the business.
SWEET SWEETBACK’S BAADASSSSS SONG (‘71) – Melvin Van Peebles wrote, directed, produced and starred in this trailblazing independent feature about a Black man on the run from society.
PETEY WHEATSTRAW (‘77) – Moore’s absurd comedy about…I’m not sure what honestly.
The Films of Josephine Baker
American born Josephine Baker got her start in Harlem, New York but moved to France in the mid-1920s due to lack of opportunity and racist sentiment in the states. In France she became a major success, starring in a number of roles from 1927 into the 40s.
LE REVUE DES REVUES (‘27)
SIREN OF THE TROPICS (‘27)
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