Word: rhythm
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Dates: during 1960-1969
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...stated that they represented the beginnings of a new film form, Black Film. Black Film is not merely filming done by black people. It is, according to Bourne, intrinsically different from "white" film, in tone, in rhythm, and in function...
Pressed to clarify this difference, Bourne's explanation was ambiguous. It goes without saying that Afro-American rhythm, "soul" rhythm, differs from "white" rhythm. Bourne's argument that just as soul rhythm can be heard in music, it can be applied to and seen in film was murky. He readily agreed that his thesis was vague, blaming it on the fact that the concept itself...
...function of Black Film was perfectly clear: to reflect the attitudes, aspirations, and problems of Afro-Americans, and to offer suggestions for the resolution of black problems. The validity of the other differences mentioned--tone, rhythm et al--is open to question...
...interspersed with still shots of the 1967 Newark revolt, was a warning that further explosions in the ghetto will be met with an escalation of brutal repression. Though effective in presenting its message, it could have been done by a white cameraman sensitive to the subject. The film's rhythm, its irregularity notwithstanding, was not the prototype of a new concept. Its impact upon the audience was electric; but the film hardly represented a new genre of cinematography...
...music. One member of the group elegantly described the analogies that can be drawn between the various components of the light show and musical instruments in this way. "You can think of lights and the tempo of changing lights and the tempo of changing lights as providing the rhythm, the liquids correpsond to the drums, the slides to guitar and the films to lyrics." And indeed the parallels more or less work. The Road's members are insistent that they have an edge on most light shows, which are pre-programmed on a computer, because they exert human control over...