What happens when a stand-alone novel gets turned into a prequel in reverse? You get fighting dwarves, a sword-wielding hobbit, a rabbit-pulled-sled and an albino orc henchman…of course. What? You thought a barely 300 page children’s book was going to be enough to churn out three sprawling cinematic “money-in-the-bank” features? You must have been smoking that half-ling leaf….
Some spoilers to follow….
“Africans unite to save Norwegians from dying of frostbite. You too can donate your radiator and spread some warmth”
So it’s rare, very rare, that I do back-to-back blogs. But once in a while, something so delicious and overflowing with blog-worthiness pops up on your radar–and demands a write up. The recipient today is the super-snarky and wonderful video “Africa for Norway.”
“Mary Bowser, born into slavery in Virginia sometime around 1840, was, alternately, a missionary to Liberia, a Freedmen’s school teacher — and, most amazingly, a Union spy in the Confederate White House.”–Lois Loveen
“Everything is connected.” That’s the theme behind the new film by Tom Tykwer, Lana Wachowski, and Andy Wachowski, Cloud Atlas. Based on the novel by David Mitchell, the movie follows the interrelated lives of several figures across time and space–from the letters of a young lawyer in the 19th century Pacific, to the far-flung future “After the Fall.” The Wachowskis and Tykwer do their best to bring a complex literary story to life on the big screen; how close they came to hitting the mark however is debatable.
Detail of statue of St. Maurice, Magdeburg, Germany, Cathedral of St. Maurice and St. Catherine, choir, ca. 1240-50
The recent use of earrings fashioned in the images of exotic black women by Dolce and Gabbana during a fashion show has caused understandable controversy. Critics charge the imagery is too reminiscent to slave-era derived caricatures of blacks, like Mammy or Little Sambo. D&G has denied racism is at play, and instead point to a history of black-a-moor decorative art on the Italian peninsula dating back to the medieval era, where blacks were numbered among the Arab-Berber armies that invaded Sicily in the 10th century. The truth may lie somewhere between the two claims. While black-a-moor decorative art indeed predates slavery and black caricatures like Mammy, their history is rooted in the European imagination–and come with inherent contradictions. As shown in a previous post, in medieval European stories and legends, black-a-moors appear as threatening figures associated with the Muslim world. But, as I discuss here, they could also take the guise of benevolent allies. Over time, these varied depictions would meld with the coming era of African slavery, where skin color became increasingly tied to servitude and bondage.
Phenderson Djèlí Clark 