“He Gave Me the Words”: An Interview with Raoul Peck

I Am Not Your Negro (2016) takes its direction from the notes for a book entitled “Remember this House” that James Baldwin left unfinished, a book about his three friends—Medgar Evers, Malcolm X, and Martin Luther King Jr.— their murders, and their intertwining legacies. The film examines the prophe...

Full description

Bibliographic Details
Main Author: Leah Mirakhor
Format: Article
Language:English
Published: Manchester University Press 2017-10-01
Series:James Baldwin Review
Subjects:
Online Access:https://jbr.openlibrary.manchester.ac.uk/index.php/jbr/article/view/53
id doaj-669c4f70399d48c5b57dfbd7e98871c6
record_format Article
spelling doaj-669c4f70399d48c5b57dfbd7e98871c62020-11-24T21:47:57ZengManchester University PressJames Baldwin Review2056-92032056-92112017-10-013120321610.7227/JBR.3.1339“He Gave Me the Words”: An Interview with Raoul PeckLeah Mirakhor0Yale UniversityI Am Not Your Negro (2016) takes its direction from the notes for a book entitled “Remember this House” that James Baldwin left unfinished, a book about his three friends—Medgar Evers, Malcolm X, and Martin Luther King Jr.— their murders, and their intertwining legacies. The film examines the prophetic shadow Baldwin’s work casts on twentieth- and twenty-first-century American politics and culture. Peck compiles archival material from Baldwin’s interviews on The Dick Cavett Show, his 1965 Cambridge lecture, and a series of banal images indexing the American dream. Juxtaposed against this mythology is footage of Dorothy Counts walking to school, the assassination of black leaders and activists, KKK rallies, and the different formations of the contemporary carceral state. Our conversation examines Peck’s role as a filmmaker and his relationship with the Baldwin estate. Additionally, we discussed a series of aesthetic choices he fought to include in the film’s final cut, directing Samuel L. Jackson as the voice for the film, the similarities and shifts he wanted to document in American culture since the 1960s, and some of the criticism he has received for not emphasizing more Baldwin’s sexuality.https://jbr.openlibrary.manchester.ac.uk/index.php/jbr/article/view/53James Baldwin, Gloria Baldwin Karefa-Smart, race, film, America, The Devil Finds Work, “Remember this House,” violence, sexuality, Patrice Lumumba, film
collection DOAJ
language English
format Article
sources DOAJ
author Leah Mirakhor
spellingShingle Leah Mirakhor
“He Gave Me the Words”: An Interview with Raoul Peck
James Baldwin Review
James Baldwin, Gloria Baldwin Karefa-Smart, race, film, America, The Devil Finds Work, “Remember this House,” violence, sexuality, Patrice Lumumba, film
author_facet Leah Mirakhor
author_sort Leah Mirakhor
title “He Gave Me the Words”: An Interview with Raoul Peck
title_short “He Gave Me the Words”: An Interview with Raoul Peck
title_full “He Gave Me the Words”: An Interview with Raoul Peck
title_fullStr “He Gave Me the Words”: An Interview with Raoul Peck
title_full_unstemmed “He Gave Me the Words”: An Interview with Raoul Peck
title_sort “he gave me the words”: an interview with raoul peck
publisher Manchester University Press
series James Baldwin Review
issn 2056-9203
2056-9211
publishDate 2017-10-01
description I Am Not Your Negro (2016) takes its direction from the notes for a book entitled “Remember this House” that James Baldwin left unfinished, a book about his three friends—Medgar Evers, Malcolm X, and Martin Luther King Jr.— their murders, and their intertwining legacies. The film examines the prophetic shadow Baldwin’s work casts on twentieth- and twenty-first-century American politics and culture. Peck compiles archival material from Baldwin’s interviews on The Dick Cavett Show, his 1965 Cambridge lecture, and a series of banal images indexing the American dream. Juxtaposed against this mythology is footage of Dorothy Counts walking to school, the assassination of black leaders and activists, KKK rallies, and the different formations of the contemporary carceral state. Our conversation examines Peck’s role as a filmmaker and his relationship with the Baldwin estate. Additionally, we discussed a series of aesthetic choices he fought to include in the film’s final cut, directing Samuel L. Jackson as the voice for the film, the similarities and shifts he wanted to document in American culture since the 1960s, and some of the criticism he has received for not emphasizing more Baldwin’s sexuality.
topic James Baldwin, Gloria Baldwin Karefa-Smart, race, film, America, The Devil Finds Work, “Remember this House,” violence, sexuality, Patrice Lumumba, film
url https://jbr.openlibrary.manchester.ac.uk/index.php/jbr/article/view/53
work_keys_str_mv AT leahmirakhor hegavemethewordsaninterviewwithraoulpeck
_version_ 1725894402044329984