“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...
Main Author: | |
---|---|
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 |