Re-membering history in Isaac Julien's The Attendant

Film Quarterly

Volumn 53, Issue 4, 2000, Pages 32-40

  Orgeron, Devin ^a  

^a NONE

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[No Author keywords available]

Indexed keywords

EID: 64249083209     PISSN: 00151386     EISSN: None     Source Type: Journal    
DOI: 10.2307/1213749     Document Type: Review

References (10)

1. The most important of these articles might be Isaac Julien & Kobena Mercer's "Introduction - De Margin and De Center," Screen, vol. 29, no. 4 (Autumn, 1988), pp. 2-10, a theoretically rich essay that demonstrates the intellectual rigor of the movement as a whole
2. See also Judith Williamson, "Two Kinds of Otherness: Black Film and the Avant-Garde," Screen, vol. 29, no. 4 (Autumn, 1988), pp. 106-12
3. and Amy Taubin, "Soul to Soul," Sight and Sound (August 1991), pp. 14-19
4. His pre-Looking for Langston films are Territories (1985)
5. The Passion of Remembrance (1986), co-directed with Maureen Blackwood
6. The Attendant (1992)
7. The Darker Side of Black (1993)
8. and Frantz Fanon: Black Skin, White Mask (1996). Since 1996, Julien has been working on film installation projects, mainly commissioned by art museums and foundations in the U.K. and the U.S
9. Toni Morrison, Beloved (New York: Signet, 1991). In Morrison's popular novel, characters discuss their "re-memory" of events. This linguistic play foregrounds the "re-membering" subject's role in the process of personal, historical revision. Julien practices, cinematically, the same revisionist approach to history
10. In Diary of a Young Soul Rebel, co-authored with Colin MacCabe, with screenplay by Paul Hallman and Derrick Saldaan McClintock (London: BFI Publishing, 1991)