Word: vans
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...Professor of African and African American Studies, explained just how controversial such a film would have been at the time of its release. “It is not until 1967 that the Supreme Court that struck down the legal prohibition against interracial marriage in Loving v. Virginia. For [Van Peebles] to make this film is 1968 was radical,” he says...
...Van Peebles has never shied away from controversy or charges of radicalism. His later film “Sweetback,” after all, is about a black gigolo who goes on the lam after killing several racist police offers in the defense of a Black Panther Party member...
Allie Fields, one of the organizers of Van Peebles’ Harvard visit and teaching fellow to Professor Sollors’ course African and African American Studies 136, “Black and White in Drama and Film,” articulates the relationship between Van Peebles’ art and politics: “Van Peebles’s politics are indeed revolutionary. But aesthetically, his films are defined by constraints—of finances, style, and content—which make them doubly significant. They are on the surface aesthetically modernist, but in the context of their production...
...Three-Day Pass,” especially, embodies the avant-garde aesthetic. Van Peebles’ film greatly resembles those of his European contemporaries who comprised the nouvelle vague movement in French cinema. Van Peebles use of hand held cameras, source lighting, and jump cuts all evidence his stylistic indebtedness to Jean-Luc Godard, the movement’s leading light, but thematically he is beholden to no other. His is a uniquely defiant voice...
Moments such as these, of innocence and resignation, suggest a gentler side to Van Peeble’s strident political persona. In that respect, the HFA event fulfilled its purpose perfectly: it offered uncommon insight into mind and heart of a cinematic fixture. And that is truly...