Merdelle jordine biography sample
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Synopsis
Frankie Dymon's Death May be Your Santa Claus (1969), arguably Britain's first and only example of a 'black power' movie, in which themes of sexual and political identity encircle one another in the context of a hip and hippy London of the late 1960s, suspended between the cinematic radicalisms of films such as Roeg's Performance, Godard's Sympathy for the Devil in which Dymon played a leading role, or Boorman's Leo the Last. Thought lost until quite recently, this inscrutably-titled film is described as a 'pop fantasy' and offers an intriguing look at 60s sex and politics from a black British perspective.
DirectorDirector
WriterWriter
EditorsEditors
CinematographyCinematography
ComposerComposer
Theatrical
06 Aug 1969
- UK18
UK
Popular reviews
MoreMao + Black Liberation + 1968 + cannibalism in a lengthy UK short, easily the most 1968ly thing i've ever seen from England -- Lindsay Anderson? Fuggetaboudit.
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Black History Month
The only film made by Frank Dymon who acted in a couple of Godard things I haven’t seen but are no doubt garbage 😬. This was the only film he directed though. And it is described as Britain’s ‘first and only black power film
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Passionate Detachment
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The Jargonauts
“Is there a text in this class?” For those who studied literature in the 1980s, this phrase was less a question than a slogan—a stand-in for the philosophical debates about language that occupied literary studies in the days of what is now, somewhat dismissively, called “high theory.” (Too high, is often the implication.) It was first posed by a student of the literary theorist Stanley Fish, who bandied it as a kind of riddle in an essay by the same name. What the student wanted to know, Fish explained, was not whether the class had a textbook, but rather “In this class do we believe in poems and things, or is it just us?” Are texts closed, their meanings as secure as a textbook between two covers? Or open—determined only by the contexts in which they and their readers move?
Fish’s essay transformed his student’s question into a social and intellectual code. You got its possible second meaning only if you got the method and milieu in which the student, by way of Fish, had been trained: that of deconstruction and French poststructuralism, of Jacques Derrida and his American interpreters. The question now circulates, if it circulates, with a patina of quaintness, conjuring up a bygone tradition and inte