As Exhibit A, I ask you to consider the significant number of prominent, lingering, poetic rural landscape shots, all quivering sunlight through forest leaves, creating a useless motif that I am goddamned if I can figure out. The film starts with footage from Gone With the Wind , the famous crane shot of the endless expanse of war dead and wounded at the Atlanta train depot that ends on the image of the ragged Confederate flag flapping in the breeze.
This is followed by black-and-white film of Alec Baldwin playing a s McCarthy-era conservative ideologue spouting a racist diatribe, apparently for a TV telecast, and repeatedly forgetting his lines. This bitter gag runs far too long, and is accompanied by more film footage, this time of D.
In its messy way, the sequence is trying to convey the complex relationship of media and public, for better or worse — usually for worse — when it comes to attitudes about race in America. This theme continues throughout the film with mixed results. The audience broke into applause for this shot.
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Belafonte tells the tragic story of the lynching of Jesse Washington, which was one horrifying result of the resurgent Klan violence inspired by Birth of a Nation. Griffith is credited with perfecting the use of cross-cutting. So, Lee takes back cross-cutting from Griffith and uses its filmic power against his racist legacy. Which could be great if the sequence worked better, but it seems heavy, static, and contrived. As the Washington Post background story on the real Ron Stallworth points out :. Colorado Gov. Details Patricia A Grate. Details Damayra Innes Beatriz Santiago.
‘We’re still fighting that same fight’: how Spike Lee got his groove back with BlacKkKlansman
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Sep 30th, Kristen Hare. It took seven journalists, FOIA requests, 1, documents and 3, hours of work. Nov 24th, Kelly Hinchcliffe. Can FOIA be funny?
With ‘BlacKkKlansman,’ Spike Lee brings the fire this time — The Undefeated
Curtis Raye thinks so. He has created a comedy show celebrating…. Nov 02nd, Kelly Hinchcliffe.