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#diff #would’ve been fun if I was not fckn working #next time #I’m not covering this #photography #art #film

Kalpana (1948), dir. Uday Shankar

Kalpana should have been an inspirational classic of postcolonial Indian cinema for generations of artists, academics, filmmakers, dancers, and cinephiles. But this was not to be. — Shai Heredia, Kalpana: Dreaming the Impossible Dream

#film #art #photography #history #postcolonial india #uday shankar #postcolonial cinema #south asian #south asian cinema

prairie-daughter

how my great grandmother left her kitchen shortly before she died. appalachia, 1990s

#memories #photography

retropopcult

American-made sparkler brands 1910-1950

#visual culture #huzzah!

A blend of silliness and seriousness is Barbie’s calling card – and adulthood, as seen by a child, can seem simultaneously dumb and intense,

“The moment ought to be terribly schmaltzy, but much like the rest of Barbie’s time spent interacting with reality, it plays directly into one of Gerwig’s strengths: her willingness to be earnest about what it is to progress through life as a woman, pointing out the various joys and terrors with such rapture that she might as well be a bright-eyed, newly-born doll.” — Philippa Snow

#Barbie #reading list #trying to be accountable and stuff #anyway…good writing!

vintagewildlife

The eyes of various animals By: Unknown photographer From: Disney's Wonderful World of Knowledge 1971

#photography

tentacion2099

Propaganda pamphlet from the Korean war trying to convince American soldiers to defect, early 1950s

weeguttersnipe

Tabu and Nithya Menen in Hanuman (French/Hindi, 1998)

#film #to watch

niggamag

The Blood Of Jesus (1941)- Dir. Spencer Williams

In the rich history of low budget Black cinema, there are a few rare gems that I feel every Black person should see in their lifetime. Among them is "The Blood of Jesus" (1941), a groundbreaking film directed by the multi-talented Spencer Williams. This film lays the groundwork for Black indie films with its ghastly folk aesthetic, non linear storytelling and angelic imagery. "The Blood of Jesus" remains an essential cinematic experience even after more than eight decades.

Now why THIS film?

"The Blood of Jesus" holds a special place in the annals of Black cinema as one of the first feature-length films to be produced and directed by a Black filmmaker. This milestone not only paved the way for future filmmakers but also provided a platform for authentic representation and storytelling.

The storyline is the classic “in between heaven and hell” trope and it is executed in such a stylistically sound way that it kept me glued to the screen. It reminded me surrealism and Dadaism which was huge in white cinema and literature at the time. This is early Afrosurrealism, dare I say. We see masterful interaction with atmospheric lighting, symbolic dream sequences, and breathtaking slow dissolves. It has lots of non-linear storytelling which is seen in many different Black indie films, especially from the 90s and it was fun making this connection.

Here’s a brief synopsis:

The film tells the story of a young woman named Martha, played by Cathryn Caviness, who is accidentally shot by her husband, Razz Jackson, portrayed by Spencer Williams himself. As Martha lies between life and death, her soul is caught in a cosmic struggle between the forces of good and evil. The narrative takes the viewers on a spiritual journey, as Martha's soul encounters various characters, symbolizing the temptations and choices she must confront. The film skillfully weaves together elements of Christianity and African American spirituality, highlighting the interconnectedness of faith and culture.

Written by your favorite Black film head, welcome to Nigga Mag.

-M

#films #to watch