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Page 10
The Spelman Spotlight
February, 1985
All Day Forums Spark 5th
Annual Atlanta Third World Film Festival
CHERYL CHISHOLM, film
This year's AtlantaThird World
Film Festival has a new compo
nent, the all-day forum which
will meet on Saturdays from 10
a.m. till 5 p.m. during the month
of March. Funded by the City’s
Bureau of Cultural Affairs, the
Fulton County Arts Council, the
National Endowment for the
Arts, the National Endowment
for the Humanities, and the
Georgia Endowment for the
Humanities, these intensive and
entertaining sessions will bring
an eclectic mix of filmmakers,
film scholars, film users and
humanists from many fields into
proximity with provocative jux
tapositions of films. The four
forums are designed as case
studies in order to improve the
general understanding of how
film works, what our habits and
traditions are in relation to film,
and what Third World film
makers are doing to exploit film’s
potential for Third World needs.
The forums, all hedl in the main
library, are as follows:
MARCH 9 - FORUM #1: THIRD
WORLD NEEDS VS.
HOLLYWOOD HABITS
CASE STUDY: African
American Independent Film
makers FILMS: (To be screened
in whole or in part) "The Birth of
a Nation," by Griffith, “Ten
Minutes to Live" by Micheaux,
“Sweet Sweetback’s Badass
Song” by Van Peebles, and
"Bless Their Little Hearts” by
Woodberry.
DISCUSSANTS: DON BOGLE,
Black film historian, STERLING
STUCKEY, social historian, Billy
WOODBERRY, filmmaker, and
theorist.
MARCH 16 - FORUM #2: TELL
ING A STORY
CASE STUDY: The African Im
agination
FILMS: (To be screened in whole
or in part) “Black Girl” and
"Emitai” by Sembene, "Poko”
from Burkina Faso, and
“Harvest: 300 Years” by Gerima.
DISCUSSANTS: IMBYE CJHAM,
Gambian film scholar, AMINA
DICKERSON, African art
educator and director of the
DuSable Museum, GASTON
KABORE, filmmaker and direc
tor of the African Film Festival at
Ouagadougou, and TONI CADE
BAMBARA, novelist, short story
and script writer.
MARCH 23 - FORUM #3:
DOCUMENTING REALITY
CASE STUDY: Darkest Africa and
Black Folks’ Blues
FILMS: (To be screened whole or
in part) "Mondo Cane" the
controversial compilation
documentary of the 60's, "Tarzan
the Ape Man,” the 1932 version
containing documentary
footage, “Sudan’s Pyramids:
Azandi’s Dream,” a PBS
documentary, "Reassemblage,”
a documentary meditation on
the act of filming others, ‘The
Land Where the Blues Began, by
Worth Long and Alan Lomax,
and “Give My Poor Hear Ease,”
from the Center For Southern
Folklore.
DISCUSSANTS: ABIYI FORD,
African film scholar, HUBERT
ROSS, anthropologist, WORTH
LONG, folklorist and filmmaker,
and ED SPRIGGS, president of
the Atlanta Frican Film Society.
MARCH 30 - FORUM #4: IL
LUSTRATING ISSUES
CASE STUDY: Grenada, South
Africa and Wilmington
FILMS: (To be screened whole or
in part) "Grenada: The Future
Coming Toward Us,” a film
being completed as the U.S.
invasion took place, network
coverage of Grenada,
"Generations of Resistance,”
one of the classic documentaries
about the Black struggle in South
Africa, “Journey to the Sun,” a
tourist film touting South Africa,
and “Wilmington 10: 10,000”
about the plight of the
Wilmington 10, their families,
friends and supporters.
DISCUSSANTS: HAILE GERIMA,
filmmaker and scholar, ADWOA
DUNNE HISTORIAN AND
DIRECTOR OF THE OUTREACH
PROGRAM OF Howard Univer
sity’s African Studies Institute,
M.-CARMEN ASHHURST, film
maker and director of The Film
Fund, and SUE ROSS, program
chairperson of the Atlanta
African Film Society.
HEART ATTACK
DOESN’T WAIT
Learn the
Signals & Actions
for
Heart Attack
Survival
American
■ •Heart
Association
Elizabeth Catlett,
Continued from pg. 1
President Stewart described
Mrs. Catlett as a "beautiful
person and outstanding artist.”
He mentioned that Francisco
Mora, Mrs. Catlett’s husband
and a leading artist of Mexico,
may create a mural for exhibit in
the Alma Upshaw Dining Hall.
Mora said he must take into
consideration the available
space and possible theme before
final plans can be made for the
mural.
Mrs. Catlett's art is on display
in the John D. Rockefeller Fine
Arts Building.
Mother and Child, 1978, bronze Photo by Jennifer Satterfield
sculpture by artist Elizabeth
Catlett.
Creativity is a network
of magnetic energy which
flows forth from a writer’s
observations, ideas
and inspirations.
Carol Lawrence
LATIN AMERICA & CARIBBEAN WEEK
co-sponsored by the ATLANTA-FULTON PUBLIC LIBRARY
SUNDAY, March 3: “SUGAR CANE ALLEY” 1983, 103 min. Martinique, LIB
Euzhan Palcy, French/English subtitles
♦IN PERSON: EUZHAN PALCY, reception following screening
MONDAY, March 4: LIBRARY CLOSED
TUESDAY, March 5: “UP TO A CERTAIN POINT", 1984, 72 min. Cuba, LIB, 8 p.m., Tomas
Gutierrez Alea, Spanish/English subtitles
WEDNESDAY, March 6: "WHEN THE MOUNTAINS TREMBLE", 1983, 83 min. Guatemala/U.S.
LIB, 8 p.m., Pamela Yates and Thomas Sigel, Spanish/English
THURSDAY, March 7: "GAIJIN”, 1979, 105 min., Brazil, LIB, 8 p.m., Tizuka Yamasaki,
Portuguese/English subtitles
FRIDAY, March 8: "MEMORIES OF UNDERDEVELOPMENT”, 1968, 97 min., Cuba, IMAGE, 8
p.m., Tomas Gutierrez Alea, Spanish/English subtitles
SATURDAY, March 9: FORUM No. 1: Third World Needs Vs. Hollywood Habits, LIB, 10 a.m.-5
p.m., Case Study: AFRICAN AMERICAN INDEPENDENTS
Editor ,
Continued from pg. 2
Dear Editor:
I am an on-campus student with an on campus parking spot, that is when I can get one. What I
don't understand is all of this excessive towing. If the person is running down the stairs to get to her
hooked-up car, is there any need to continue towing the car even if the owner is running behind
the truck, trying vainly to catch her car? Getting your car out of tow is no small fee and from my
observation it seems as if the guards get a sort of glee from snatching the offending car from the
offending place without telling the offended owner. It is not a picnic to walk out from class to find
an empty space where you car once was.
Another question: Do the teachers’ cars get towed away if they park in student spaces? I don’t
believe I have witnessed screams of hysteria coming from offices of Giles or Tapley. Hmm, I wonder
if I can get a visitor’s pass to park in front of LLC if there are no other available spots. Another thing,
what difference does it make where you affix your car sticker, just so long as it is clearly affixed. You
know guys, we won’t (hopefully) be at Spelman forever, but some of our cars will be with us for
almost that long and those stickers seem to melt into the car's exterior. A final question - since there
used to be a paper shortage, why add to it by sticking 4 or 5 bright yellow “parking violations” on all
windows. Guards, where do you expect us to go covered in yellow paper?
—Angela Hubbard
Artwork by Debra Jqhnsun
Be creative . . .
Submit your works
Deadline for the next
issue: February 25