soft focus expresses great distance between Coretta (Carmen Ejogo Boycott (2001 TV Movie)

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Kimberly Burke
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In January 2017, Young became the first African-American cinematographer to be nominated for an Academy Award, for his work on Arrival.

1 Selma (Ava DuVernay 2014) Bradford Young, Cinematography White Lies, Black Sheep (2007), Pariah (2011), Restless City (2011), Middle of Nowhere (2012), Ain't Them Bodies Saints (2013), Mother of George (2013), and Arrival (2016). In January 2017, Young became the first African-American cinematographer to be nominated for an Academy Award, for his work on Arrival. He is also the first person of color to be nominated in the Academy Award cinematography category since 1998 when Remi Adefarasin (England) was nominated for Elizabeth. soft focus expresses great distance between Coretta (Carmen Ejogo Boycott (2001 TV Movie)

2 Coretta Scott King) & adulterous Rev. Martin (David Oyelow Lincoln 2012) a kind of picture postcard well balanced, deep focus tableau of the Kings

3 stairwell precursor of prison bars and girls explosion

slo-mo/diegetic sound creates a cinematic wound that carries throughout the rest of the film Slow motion or over cranking is so called because more than 24 frames per second the ideal, standardized

6 slo-mo/diegetic sound creates a cinematic wound that carries throughout the rest of the film Slow motion or over cranking is so called because more than 24 frames per second the ideal, standardized speed at which to capture the illusion of movement are recorded by the camera so that when projected back at 24 frames per second (each frame exposed twice per second), the movement appears slower than real time since there are additional frames. The common effect of slow motion is a dream-like experience and often it allows the viewer to savor the moment. Here it is nightmarish and forces the viewer to contemplate the hatred and brutality. Early in the film the violence serves as a wound that never heals. It revisits with the same intensity when Annie Lee Cooper is attacked:

7 Annie Lee Cooper (Oprah Winfrey) similarly attacked via slo-mo sight & sound

8 George Wallace Confederate flags King and LBJ (Tom Wilkinson) divided by father of our country, slaveholder

9 Integration

10 organ pipes enclose the Reverend

11 another encloser/framing

13 the Sermon on the Mount discussion with Ralph Abernathy-consider Sountern Christian Leadership Council, Malcolm X break-white Man s religion?

14 A God Shot or extreme high angle shot is so named because it often approximates a near impossible perspective of elevation available only to a supreme being. The shot usually confers some sort of moral judgment and, particularly in Hitchcock, foreshadows the death of the subject(s) within the frame.

16 Edward Hopper Homage? Edward Hopper-Nighthawks, 1942 Canvas print

17 aestheticizing Abernathy-framed and illuminated

18 extreme low angle depicting power

19 global image pattern shooting King from behind with audience following

20 chosen for promotional poster

and challenging book, Camera Lucida (1980), Roland Barthes calls

22 doc footage from I Am Not Your Negro-Neil Young Southern Man answered by Lynyrd Skynyrd s Sweet Home Alabama In his illuminating and challenging book, Camera Lucida (1980), Roland Barthes calls photography unclassifiable, a disturbance to civilization and a wound. This

last characterization bears witness to the inherent violence in the aiming, shooting and taking of photographs and movies. In fact early cameras were often mounted on the stocks of modified rifles.

23 last characterization bears witness to the inherent violence in the aiming, shooting and taking of photographs and movies. In fact early cameras were often mounted on the stocks of modified rifles. Fig. 1 Sands and Hunter Gun camera, 1885 Eastman Gun camera, The pioneering photographer Henri Cartier-Bresson ( ) once remarked: "I adore shooting photographs. It's like being a hunter. In his introduction to a rare interview (7/6/00) granted to Charlie Rose of PBS, Rose described Cartier-Bresson as both a sharpshooter and a marksman, and both interlocutor and subject use such weaponry metaphors throughout the interview. This violence of looking, gazing, photographing, and filming, as well as its penetrative phallic logic are thematized by several films, most notably Hitchcock s Rear Window (1954), David Lynch s Blue Velvet (1986), and as a sort of progressive antidote, Sam Mendes American Beauty (1999).

25 Air date: January 15, 2018

26 Abraham Lincoln's Assassination, John Wilkes Booth, and John Brown - The Atlantic

Abraham, Martin And John (Richard Holler) as recorded by Dion (Dion DiMucci) 1968 four assassinated Americans, all icons of social change, Abraham Lincoln, Martin Luther King, Jr., John F.

30 Abraham, Martin And John (Richard Holler) as recorded by Dion (Dion DiMucci) 1968 four assassinated Americans, all icons of social change, Abraham Lincoln, Martin Luther King, Jr., John F. Kennedy and Robert F. Kennedy. It was written in response to the assassination of King and that of Robert Kennedy in April and June 1968, respectively. Has anybody here seen my old friend Abraham, Can you tell me where he's gone? He freed a lotta people, but it seems the good die young But I just looked around and he's gone. Has anybody here seen my old friend John, Can you tell me where he's gone? He freed a lotta people, but it seems the good die young But I just looked around and he's gone. Has anybody here seen my old friend Martin, Can you tell me where he's gone? He freed a lotta people, but it seems the good die young But I just looked around and he's gone. Didn't you love the things they stood for? Didn't they try to find some good for you and me? And we'll be free, Someday soon it's gonna be one day. Has anybody here seen my old friend Bobby, Can you tell me where he's gone? I thought I saw him walkin' up over the hill With Abraham, Martin and John.

Place of Performance: Bristol Sign Poetry Festival 2010, Bristol Centre for Deaf People

Title of poem: Children s Park Performer s name: Richard Carter Date of Performance: 20th February 2010 Place of Performance: Bristol Sign Poetry Festival 2010, Bristol Centre for Deaf People Length: 02:18