Tag Archives: As an Act of Protest

The Rebirth of Resistance…

Timely and more relevant now in its 15th year anniversary (and decade in gross obscurity) Speller St. Films is bringing As an Act of Protest into the zeitgeist of the 21st century to prove that the film was a terrifying prophecy and a grim acknowledgment of where race relations, culture, and police brutality is headed if we continue to deny the realities of both the past and the present.

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With the acquittal of the Minnesota police officer that unjustly killed Philando Castile, movies bearing a genuine social consciousness revealing our political climate are needed now more than ever. Not bright-light-Hollywood Drone– productions. But hand-made cinematic ‘Molotov cocktails.’ A Protest Cinema.

On July 15th Raleigh Film Underground will host Speller St Films’ revival screening of As an Act of Protest, pledging all proceeds towards the restoration of the movie so the film can see an eventual DVD release. Gritty, powerful and provocative movies can remind us of the power of drama and the impact artistic foresight has.

This is the film the Black Lives Matter movement should be learning from. Not a superhero movie, but a film about the real desperation of trying to address the problem that something is “rotten in the state of Denmark.” If the new generations of activists want to advance theories, techniques, dialectics, and problem solving within the web of social diseases and political oppression ‎in America, they can start by dusting off the artworks that were created for them to be inspired by and to challenge. 

All revolutions need art. And this is just one example.

Spread the word.

***

July 15th, 2017 – 7 PM, Tickets are $10 (cash) at the door

Raleigh Film Underground at Kings – 14 Martin Street, Raleigh, North Carolina

Visit actofprotest.eventbrite for advance tickets

Contact spellerstreetfilms@gmail.com for more information.

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Mtume Gant: Remembering “As an Act of Protest”

Fellow filmmaker and colleague for nearly 20 years, Mtume Gant, has written a touching commemorative piece for my 2001 cult film “As an Act of Protest,” which recently received a revival screening in Chicago via Floyd Webb’s Black World Cinema…Click the link below to read his liner notes for this “retrospective” which will be included in the DVD package at the end of this year. 

Maverick Intentions: By Mtume Gant 

Dennis Leroy Kangalee's "As an Act of Protest" starring Che Ayende

Dennis Leroy Kangalee’s “As an Act of Protest” starring Che Ayende

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A Cinematic Protest Returns to the Screen!

Thursday, November 6, 2014 @ 7:00pm!

” The Best Black Film of The Year!”  – Kam Williams, 2002, The NJ Herald

After more than a decade, the 2002 cult classic AS AN ACT OF PROTEST will finally get its Chicago ‘premiere’ at the Studio Movie Grill Chatham Theater, 201 West 87th Street, courtesy of Floyd Webb and Black World Cinema.

A cinematic “line in the sand against racism,” it is provocative, disturbing, and emotionally arresting at times – this is a movie unlike any other made in the early part of the 21st century as it signified a new type of “protest art” within the dramatic arts, linking the political consciousness of 1960’s-1970’s radical theater with the cinematic urgency and simplicity of the “Dogme 95″ Digital Video revolution in world cinema.

Hopefully we can get some folks in the windy city to brave the weather and get a chance to see Dennis Leroy Kangalee’s seldom seen “missile from his youth”!

'As an Act of Protest' design by Benn Starr (2014)

‘As an Act of Protest’ design by Benn Starr (2014)

Thursday, November 6, 2014 at 7pm, Adm. $6.00

Black World Cinema @

Studio Movie Grill Chatham Theater
210 W 87th Street

Additional information:

Click here for video excerpts or more information on the film itself.

Contact: Black World Cinema, 9 W Washington St, Chicago, IL 60602

Curated by: Floyd Webb, floydwebb@gmail.com

Visit http://aaaopfilm.wordpress.com/screenings/ for more information. 

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Dennis Leroy Kangalee’s Cult Classic Heads to Chicago in November…

On Thursday, Nov 6, 2014 @ 7pm:

Dennis Leroy Kangalee’s cult classic

“As an Act of Protest” finally screens in Chicago!

Dennis Leroy Kangalee's cult classic "As an Act of Protest" (2002)

Dennis Leroy Kangalee’s cult classic “As an Act of Protest” (2002)

After more than a decade, my first feature film “As an Act of Protest” will finally get its Chicago ‘premiere’ in November, courtesy of Floyd Webb and Black World Cinema. And special thanks to the German and French audiences who were cheeky enough to make PAL bootlegs (the only remaining format available!) enabling an editor here in NYC to slowly re-assemble the footage after a transferring all the video back to NTSC.  Laborious and crazy as it was, it was well worth it since now a new generation has re-discovered one of my most personal and favorite artworks.

It means a great deal to me because this little film never received proper care or attention in the USA in the aftermath of 9/11 and the strange reactionary years that followed.  At one point, no art house or independent theater  in NYC would screen it without being threatened or harassed by local police precincts. The movie actually played to more southern audiences and college universities than north-eastern ones!  Now, with the unfortunate spike in police brutality incidences and racist murders — certain corners of our country are beginning to re-discover and assess “As an Act of Protest,” a drama I made when I was 24 years old, mad as hell, and crazy enough to express my confusion, outrage, and suspicion towards a hostile and racist establishment that governs us – not in a song but in a movie! To this day, it is still one of the best scripts I’ve ever written.  And in 2014, I still believe it stands up as a strong example of protest art in cinema. 

Hopefully we can get some folks in the windy city to brave the weather and get a chance to see this “missile from my youth” and hopefully it will inspire just one another artist to commit himself to speaking truth to power, protesting injustice, seeking ways of resistance, and expressing his or her feelings wholly.  In short, maybe in the gross horror eroding our false sense of stability (“sanity”) and enabling our new depravity — other young artists will decide to shoot a movie – instead of a gun – as a means of protest.  

ActNov

Thurs, Nov 6, 7pm, Adm. $6.00
Black World Cinema @
Studio Movie Grill Chatham Theater
210 W 87th Street

http://blackworldcinema.net/blog/2014/09/23/thurs-nov-6-7pm-as-an-act-of-protest-dennis-leroy-kangalees-cult-classic/

Click here for more information on As an Act of Protest or to view clips! 

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Black Film & The Underground Spirit: 3

It all boils down to what is your weapon. If the pen is mightier than the sword, and I do believe it is, directors must respect their talents and their tools…It is very easy and horrifying to kill a man. It is much difficult and courageous to supplant a perversion with a transcendence; the true act of destruction carries the desire to create within it… You can only make a sex, drugs, and rock and roll movie so many ways. Within this barrage of images assaulting you – TV, newspapers, films – the only way to compete and battle America’s freaky web of pop culture, blatant racism, not so blatant racism, and that beast called television is to align your own self behind a series of images, tie them to a missile, and set it off. And if constructed correctly, no matter how small, missiles will destroy.
— from “Towards a Black New Wave & Notes from the Underground,”
(Harlem, August 26, 2000)

The Author, DL Kangalee, NYC, 2004 [photo by Nina Fleck]

The Author, DL Kangalee, NYC, 2004 [photo by Nina Fleck]

([copyright 2000, 2014 by Dennis Leroy Kangalee)

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Black Film & The Underground Spirit: 2

Che Ayende (Luis Laporte) as the conflicted actor Cairo in

Che Ayende (Luis Laporte) as the conflicted actor Cairo in “As an Act of Protest” (2001)

“…’Killer of Sheep’ was made the same year ‘Star Wars’ was released — and has not been seen ever since. While brothers are applauding the heroes from a galaxy far, far away – they’re completely inured to their fellow brethren right in their own backyards. The same was true nearly 15 years later when Wendell B. Harris was virtually paid to NOT make any movies. One look at his magnificent ‘Chameleon Street,’ and everyone knew that a powerful voice had arrived. And this scared everybody. I always found it disturbing that that the Black Entertainment Complex had not welcomed him — the man had won Sundance, after all — in the years when Sundance actually meant something.  They did not appreciate him they rejected him.  (Maybe they just didn’t know what to make of him…let’s not forget that old Satchmo himself was terrified of Charlie Parker.)

…In the early 1970’s, Huey P.Newton wrote a stunning essay and review of Melvin Van Peebles’ revolutionary ​”​Sweet Sweetback’s Baaadasss Song​”​and hailed it as a new vanguard cinema for black people – an example of real artistic-political storytelling that the oppressed could appreciate. Huey wrote that he hoped this would inspire a whole revolutionary genre of black pictures. Instead, Hollywood saw they could make money by having a brother on screen and decided to further the ante by “gambling” on pictures like ‘Shaft’ (by Gordon Parks, ironically, whose brilliant “The Learning Tree” has been forgotten even though it was the first major Hollywood movie by a black Writer and Director! Of course, the rest is history and like they have done to Rap music – everything caved in; the Blaxploitation era arrived and all the racist, stereotypical ‘skin flicks’ flooded the world and artists like Bill Gun, Burnett, and even Van Peebles himself vanished into thin air. No wonder Huey P.Newton died in a crack house: he had no movies to go see…”

— from “Towards a Black New Wave & Notes from the Underground,”
(Harlem, August 26, 2000)

(copyright 2000, 2014 by Dennis Leroy Kangalee)

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Black Film & The Underground Spirit: 1

Kangalee by Hallstrom

“…the new breed of American filmmakers need to turn a blind eye to the Reservoir Dogs of the American Beauties and express themselves. Black people will play Bob Marley’s “Get Up, Stand Up,” blast Wu-Tang’s most innovative tracks, and spout the poetry of Amiri Baraka or Sonia Sanchez and yet will still think that a film like “The Best Man” or “Shaft” is good enough for them. I know there are a lot of talented, radical, sensitive people out there. But where are they? Certainly not behind the cameras…”

— from “Towards a Black New Wave & Notes from the Underground,”  (Harlem, August 26, 2000)

 

(c) August 26, 2000; April 14, 2003; August 25, 2014 by Dennis Leroy Kangalee

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Schrader, Scorsese, Film, & Racism

“It’s a truism that blacks have to outperform whites in similar situations. More is called on for the part of a black than a white. He cannot have the kind of personal controversy in his life that a white person has…I remember when I was very young and very angry and I wrote this movie Taxi Driver. Spike Lee does not have that privilege; he doesn’t have the privilege to be angry. Society won’t let him. It’s too dangerous for a black person to be that psychopathically angry at whites, the way that white character in Taxi Driver was at blacks. It’s just not allowed to him.”

– Screenwriter/filmmaker Paul Schrader (Taxi Driver, director of Mishima) ,
upon viewing Spike Lee’s film, Do The Right Thing in 1989.

Scorsese & Schrader: The Fascist Punk Duos of 1970's American Cinema

Scorsese & Schrader: The Fascist Punk Duos of 1970’s American Cinema

This was the very last thing I read before I finally gave in and wrote my first original feature film As an Act of Protest in the summer of 2000. It was a watershed moment in my life because I was allowing myself to be completely honest about how I felt and what I saw in the world around me. I wanted to write a film that challenged Schrader’s courageously honest, although smug, statement and I think I succeeded. During early screenings of the finished film during the paranoid aftermath of 9/11 (not the best time for radical artists of color-then again, was there ever any?), Schrader’s admission about allowance proved to be right: white people and their establishment token blacks did not want to acknowledge or concede that the sordid illogical white racism of America (the West) could very well be enough reason to explain why a black man could be crazy and pathologically angry at whites. Although victims of racism are not crazy; their resentment of their oppressors and their system is rational and righteous. Many did not want to accept the truth of As an Act of Protest any more than they may have accepted the much cooler, hipper Spike Lee classic Do the Right Thing. However, my film did not seek to necessarily entertain, it sought to express. And that’s what I am most proud of. One critic described it as an “internal Battle of Algiers” – he understood what I was wrestling with: the depiction of racism and how it affects the soul of a young African-American trying to find his place in the world. Regardless of how good or bad the film may be, it is apparent where my sentiments are – my issue is not with white people, but with white racism. And how it is inextricably linked to the lives of the colonized and oppressed. Scorsese and Schrader’s cinematic depictions of racial truths are another case altogether – as they represent the corrupted soul of the white establishment. Their outsiders may resent their own politicans and values and so forth — but they are still very much white men eager to assert and define their conception of right, wrong, and “whiteness.” They are urbane John Waynes.

Schrader was 26 was he wrote Taxi Driver and he always claimed that he, Robert DeNiro, and Martin Scorsese were all in that awful brutal racist psycho-emotional place when he wrote the film and when they made it – exorcising their raging demons and “evil” (his word). And while I would accept that as a film, as a work of art on its own; while I could accept that it was a portrait of a trouble white man’s struggle to come to grips with who he was, how America was fucked up, how Vietnam had screwed him up, how misogyny is supported, how white men’s racist hatred is supported and honed by the system, etc — I don’t buy it for one minute because ever since Schrader and Scorsese have not continued to excise their racism, they have continued to very comfortably indulge in it. (I will spare DeNiro in this post.)

And though I respect Schrader’s original voice as a screen dramatist (he has talent and in my book that always implies potential), he — along with Martin Scorsese — best exemplify the conflicted, tortured relationship supposedly “spiritual” and conscientious White Americans have with Black Americans. While Scorsese reveres rock & roll and blues music (all created by Black Americans) he has a creeping hostility and virulent racist attitude towards blacks in nearly every single one of his films. I find it amazing that he loves punk so much and is a well known Clash fan, but has such a gleeful derision of African-Americans. What would Joe Strummer say about that? Scorsese, casually, has a character say what he must perceive as being the obligatory term for blacks no matter what: “Nigger” in at least half of his narrative feature films (I stopped counting after 8). But on the Holly-weird screen everyone loves demeaning blacks and saying that word, it’s infectious to them. It’s an American past-time, part of the culture! The trash that Jay-Z and Kanye West have promulgated to suburban whites and urban blacks craving “authentic ghetto life” only give credence to white liberals who love hearing us call each other “my nigga” and then consistently write that into any script that features a brother from ‘hood. We all know in our heart of hearts this is true. It’s like a mirrored reflection of those incredible scenes in Robert Townsend’s brilliant Hollywood Shuffle where the white acting coach is teaching black men how to talk and “jive” and be real “BLACK” for Hollywood movies.

The flip side here is that people would decry and accuse Scorsese if he didn’t express his pathological racism, they would say: “Oh, man. That’s not really how it is!” or they would defend Scorsese and state he is representing the nonchalant racism of white people, etc. — but they would be wrong. These moments in his films are not only his own perverse way of being honest about how he feels (Spielberg said “Scorsese is the best director simply cause he’s the most honest”) — but anchored with a nasty feeling as if to cry: “Let me just simply get this off my chest, I hate black people, I can’t help it!” — and it reverberates throughout his body of work. It’s almost as if he makes sure he says “Nigger” in his films so that white people in the audience won’t have to…It’s deranged. He has an obsession heralding the white workingman’s cool hatred of blacks; Tarantino has a straight up ominous fetish for the word “Nigger” and demeaning stereotypes of black culture which is a whole other discussion. We must remember: words carry meaning, words carry thought. I’m a writer, I know full well the power of words to lance, kill, or protect. And in art – everything is on purpose. Even the mistakes.

Paul Schrader seems to be in between these two poles. He’s passive-aggressive. I think he admires Scorsese but wished he could have had the frenzied attraction of Tarantino. He views himself, however, as Martin does – a man of faith, etc. Which is puzzling.
Does it not creep you out that “men of faith” have an unfettered pathological hatred of black people? Amazingly, Schrader directed Richard Pryor in Blue Collar, easily Pryor’s best dramatic performance (outside of his own JoJo Dancer – a grossly underrated flick!) and the film was championed by the Left for bringing issues of racism, class, and union corruption to the fore. It holds up as an excellent movie. And yet, Schrader is himself – somewhere deep down, an unreconciled racist. (Interesting also is the fact that the great Pryor who denounced using “Nigger” in his routines by the close of the 1970’s — seemed to have had no impact on the immediate political consciousness of either blacks or whites in the arts. It was like when Dylan went electric: they were mystified, felt betrayed somehow!)

I want to make it clear that I am not implying Scorsese and Schrader to be DW Griffiths. As far as I’d like to believe they are not, do not, support racism or oppression of any groups — that is not what I am getting at. In fact, I wished they did so I could understand them more! It bothers me that very few writers and filmmakers will have this conversation. To do a movie about a racist is one thing, to make a racist film is another…but to sprinkle racist tendencies and stereotypes in your work is even more frightening because you can forever get caught up in debates about “what it actually means.” I know what it means, thank you very much. I am a New Yorker who has grown up in a mixed environment, blah, blah, blah — and I can spot a racist from a mile away. Schrader exposes himself as trenchantly as Scorsese does, but perhaps without the finesse (Watch Schrader’s Hardcore for one memorable example, that is not necessary). Bear in mind that while he tried to empty out his racist pathologies in Taxi Driver (why Scorsese may have clung to it so passionately), he developed a chauvinistic attitude towards people of color and sex in quite a different way (note how the same director of Hardcore did the wonderful dramatic bio-pic of Yukio Mishima, and in between made Patty Hearst…who, as we know, was held captive by a brother. Somewhere in all of this is a bizarre insane contempt for blacks and yet he tries to somehow make up for it by making Mishima. Very disturbing.)

Someone once told me I expect too much from white American popular artists. How preposterous! I told him it’s not that I expect too much — it’s that the American people of all races — demand too little. The depths of Bob Dylan and Paul Simon’s music would put Schrader and Scorsese’s art to shame. One must be very critical and hard on the artists who possess the most ability and who are simply brilliant. Which is why Jay Z annoys and perplexes so many Black Americans who cannot accept him: he’s extremely talented…but he not only hates black people, women, and the revolutionary spring of hip-hop – he hates himself. There is something disgraceful and embarrassing when we confront sacred cows. It is not the slaughtering of them that bothers me — it is the “free pass” we give them – so that we can slaughter ourselves.

Scorsese and Schrader revere Robert Bresson, as I do. Schrader has written wonderful texts on him. But the spiritual gravitas of Bresson and the fury of his later 1970’s films – go deeper and cast a wider net of compassionate truth or understanding than either of the two filmmakers simply because: Bresson did not hate any one ethnicity or race. He was appalled by man in general and despised its Capitalism and cruelty. Period.

Amiri Baraka once said there is nothing more dangerous than a talented person with backward thinking. Scorsese and Schrader have a lot to learn. And that’s okay – for as long as man is alive, perhaps there is still room for his soul to grow. But I highly doubt it.

The number one problem with our popular National Actors and Directors and Screenwriters in this country is our refusal to make them responsible for not helping shape and criticize reality; for not incurring them to take a stand and own up to their own cinematic representations. Scorsese and Schrader would be unwilling and would fail, miserably, in trying to express plainly the problems that exist in this country in terms of race. Intellectually I know they know it, but instead of rebelling against Hollywood and the United States Government, they seek to maintain it, and glibly state that they are and have always been outsiders and outlaws and critics of conservative bourgeois society. I laugh at this. Why is it considered “political” if an artist is asked to take a stand, to choose a side, to make it clear how he perceives himself…and the “other”? The politics of Frank Capra alone make the average Hollywood icon look like Mussolini. (We forget that Congress wanted his head on a platter – literally – after he made Mr. Smith Goes to Washington!)

We prefer our pockets deep, hearts numb, and minds closed. When audiences start demanding more from their “salon artists,” I will begin to reconsider the idea of social change or hope. The establishment artists, however progressive they may be noted, maintain the status quo. Now, who does that remind you of?

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ON CONQUERING & EXPRESSING:

To have bits and pieces of yourself smeared all over the screen is heavy…There’s nowhere to hide. It all hangs out. But if my favorite Hip Hop artists have used their styles of music to conquer their personal fears and espouse their political autobiographies – why can’t the new young black directors do the same? True auteurs should create movies about what they know, who they are, their interests, and about the strangeness of their lives…”

— from Notes from an Underground Filmmaker,
the introduction to the screenplay for
“As an Act of Protest”

(August 26, 2000, Harlem, NYC)

The Author, DL Kangalee, NYC, 2004 [photo by Nina Fleck]

The Author, DL Kangalee, NYC, 2004 [photo by Nina Fleck]

Black Film & The Underground Spirit: 3

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