African Film: Re-Imagining a Continent by Josef Gugler

By Josef Gugler

In African movie: Re-imagining a Continent, Josef Gugler presents an advent to African cinema via an research of 15 movies made by means of African filmmakers. those administrators got down to re-image Africa; their motion pictures provide Western audience the chance to re-imagine the continent and its humans. As some extent of comparability, extra motion pictures on Africa—one from Hollywood, the opposite from apartheid South Africa—serve to spotlight African directors’ altogether assorted views.

Gugler’s interpretation considers the monetary and technical problems of African movie creation, the meant audiences in Africa and the West, the restrictions on distribution, and the serious reception of the flicks.

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Here’s your real scoop, he insisted: my martinis. In the mid-­1970s, American writer Charlotte B A I L E Y & H E M I N G WAY 4 1 O F A L L T H E G I N J O I N T S Chandler was interviewing director Fritz Lang for her biography of Marlene Dietrich, whom the legendary filmmaker had directed in the Western Rancho Notorious and whose company he’d enjoyed, both sexually and otherwise, decades earlier. Chandler wanted to talk about Dietrich, but Lang kept pushing his damn martinis. He had a unique recipe, he told her conspiratorially: Tanqueray gin, Noilly Prat vermouth — real Noilly Prat, he emphasized — and a secret ingredient that, when mixed with the gin and vermouth, caused a chemical reaction that turned the drink a deep shade of blue.

Predictably, Hearst gossip queen Louella Parsons eventually pitched a tent and became the most powerful career-­ maker (and -­breaker) in American celebrity journalism. Her nemesis, Hedda B A I L E Y & H E M I N G WAY 3 9 O F A L L T H E G I N J O I N T S Hopper, later took over the other half of the room. The Derby continued as one of Hollywood’s finest restaurants until the late 1980s, by which time both restaurants had closed for good. The original location had a strip mall built around it, and today the signature derby sits incongruously among insurance brokers and cell-­phone hawkers.

And that was the cause of the ruckus next door. Or so St. Johns thought. But the more she listened, the more it sounded distinctly different from a party. Her curiosity was heightened by the possible presence of Paul Bern’s fiancée, the raunchy actress Barbara La Marr (“I take lovers like roses. ”) St. Johns’s reporting instincts took over and she walked next door. What she discovered became legend. St. Johns entered to find Gilbert and Thalberg crowded into a small bathroom. The producer Paul Bern was on the floor, wearing what looked like a neck brace.

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