Word: slaving
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...some of the gorier scenes were muted. "A horror film has to be delicate or it becomes a butcher shop," explains the author. There was also a larger difference. "When you're a novelist, it's all yours and your relation to the work is husband, father, grandfather and slave all in one. A movie director is directly the opposite: you're living out in the world...
Most of the problems of present-day Africa, Mazrui suggests, can be traced to Western interlopers: from the missionaries and slave traders of early days, through the European colonialists who carved up the continent with arbitrary national borders, to capitalists who have plundered its natural resources, "often bequeathing decay rather than development." The series contains no on-camera interviews, just Mazrui's narration set against striking shots of African life and landscapes. The rhetoric is sometimes excessive ("the collective burial of a people," "Western sharks in search of a pound of flesh"). And Mazrui's approach can be annoyingly simplistic...
...West in ways it cannot control: without the English and French languages, | public business in most countries would come to a halt. Western moral standards have often seemed as impenetrable to Africans as theirs have to us. "Early European missionaries," Mazrui notes, "found it easier to admit a slave owner to Communion than a member of a polygamous household." Meanwhile, Africa still has to import most of the manufactured goods made from its own abundant raw materials. For all its polemics, The Africans has a great deal to say, and it does so with eloquence and power...
...October 9, "Boyd's Eye View" cartoon depicts John Harvard stuck to a tar-baby labeled "South Africa." A tar baby is a racist symbol out of Southern slave-culture as well as an insulting term for a Black person. Its use in the cartoon is both inappropriate and offensive, and I hope that The Crimson will print an apology. Yongjin...
...haunting Willow Song, thus reducing Desdemona to a walk-on? Director Franco Zeffirelli never quite answers that question. The flamboyant Italian's 1983 cinematic version of La Traviata widened the opera's scope with tender reminiscences only implied in the libretto. In Otello, however, flashbacks to the Moor's slave childhood are maudlin, and Zeffirelli's camera, jumping edgily from storm to massed choruses to brawls and bedrooms, tires the mind. As Otello, Tenor Placido Domingo is in robust voice, and Bass Justino Diaz makes a splendidly vile Iago. Yet Zeffirelli's presumption in heavily editing Verdi's taut masterpiece...