纪录片自媒体解说素材-新闻动态参考-“奖品上的眼睛”伴侣文档“神圣的地面”如何填补黑人历史的差距（独家）/How the ‘Eyes on the Prize’ Companion Doc ‘Hallowed Ground’ Fills in the Gaps of Black History (EXCLUSIVE)
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0506/3447eqq5yg3bt3d.jpg“奖品上的眼睛”伴侣文档“神圣的地面”如何填补黑人历史的差距（独家）
How the ‘Eyes on the Prize’ Companion Doc ‘Hallowed Ground’ Fills in the Gaps of Black History (EXCLUSIVE)
纪录片和历史学家亨利·汉普顿（Henry Hampton）的开创性的奥斯卡奖提名，皮博迪（Peabody）和艾美奖获奖纪录片《奖》（Henry Hampton）即将成为新的观众。 -PART PBS纪录片到HBO，从星期一开始，观众将能够播放汉普顿的黑人历史记录和民权运动的第一部分，该运动于1987年首次亮相。在那里 -8月19日，“奖品上的眼睛”将是最高原始纪录片“奖品：神圣的地面”的首映式。电影制片人和艺术家Sophia Nahli Allison（“ Latasha的情歌”）与Patrisse Cullors，Mervyn Marcano和De laRevolución电影的Melina Matsoukas以及匿名内容的Joy Gorman Wettels，Bedinside和Blacksy's Judi Hampton和Blacksy's Judi Hampton和Blacksy的Judi Hampton和Judi Hampton和Blacksy的Judi Hampton和Judi Hampton和Judi Hampton和Judi Hampton和Judi Hampton和Blackside，Ndra Forman.Cullors，Marcano，Matsoukas和Allison通过Zoom加入了Variety，讨论新项目以及进行传统汉普顿的含义。Marcano，Blackbird联合创始人和屡获殊荣的讲故事者，以及Cullors，Coullors，Co-co-co-cullors，The Co--BLM的创始人兼前执行董事，艺术家，活动家，畅销书作家首先登上该项目，此前Gorman Wettels一直在努力使“眼睛”的新迭代一段时间以来，接近Cullors。我从运动工作中彼此认识。”马卡诺说，解释了这次合作是如何开始的，并指出，戈尔曼·韦特尔斯（Gorman Wettels）一直在努力使“眼睛”的新迭代在地面上脱颖而出。，下一步是弄清楚如何使纪录片“弥合了过去和现在之间的“差距”，讲述的故事变得不为所动。在这个妈妈恩特（Ent）感到悲伤，”马卡诺（Marcano）解释说。“还有一种非常独特的感觉，每个人都在谈论2020年是这个'流域一年'，或者“从来没有像这样一年，”他继续说道。 “对于我们许多人来说，这感觉就像是回声和[过去的动作]的重复。这很累，我们不知道该感受在哪里。 “神圣的gound”是我们试图见到那一刻，满足这些感觉的尝试，并通过那件事向“眼睛”大炮介绍了新的观众。布莱克赛德（Blackside）的首席执行官对该项目的支持以及“她一直坚持这位档案馆的长者的角色，她如此慷慨地向我们提供了。”“我没有见到亨利汉普顿，”库洛斯告诉多样。 “但是我可以通过他心爱的姐姐见到他，老实说，他确实是一个对我们来说令人难以置信的指南。”艾莉森补充说：“ [我]非常感谢她在这项任务中信任我们的历史。汉普顿在宣布这些项目的新闻稿中说：“我记得在宣布这些项目的新闻稿中说：“我记得与亨利看着'Eyes of the Prive'的飞行员'当它第一次创作时，我立即知道这部电影将对所有看到它的人改变生活。一个梦想，可以帮助将“眼睛”带到新一代。”她继续说道。 “我们感谢杰出的艺术家和激进主义者团队，他们聚集在一起以一种将动作和激发全新的观众的方式重新想象“眼睛”。做一个更非常规的纪录片，倾向于她作为实验v的敏感性艾里森说，艾里森说，艾里森说：“这是“奖品上的眼睛”的作品，并与黑人的当代经历和挣扎一起编织过去的故事。 “当我第一次看到'奖品'的眼睛'时，我还是个年轻的女孩，对我们的历史收藏感到惊讶。而且，对其他历史不再存在作为证据或有形档案的东西也很感兴趣。以及与Cullors和Marcano的行动主义。“我很荣幸； “眼睛”对我产生了如此的影响，作为电影制片人的年轻女子，并真正强化了如何将艺术武器用于运动，并且对我的影响很大” Matsoukas谈到签署执行产品。我赢得的电影制片人她的“仙女教母”。“我从这三个人中学到了很多东西，”艾莉森说，称库勒斯为“治疗者”，而马卡诺（Marcano）是该项目的“大爸爸”。 “他们作为艺术家，组织者和运动领袖的才华横溢，这感觉就像是正确的婚姻，结合在一起，使事情变得新鲜。”拍摄始于2月，船员们应对COVID的额外挑战，以获取Covid的挑战及时完成的\u200b\u200b项目。“创建您需要时间的纪录片，然后最重要的是，我们正在尝试结合这些神奇的现实主义元素，这并不容易，” Allison回忆道。 “但是我们都知道这个项目是什么，可能是什么，这成为了我几个月的生活。”这是一个挑战，但是，电影制片人指出：“亨利·汉普顿的经历也是一个挑战。他没有轻松创造“奖品”的旅程，所以我认为这是一个非常有趣的回声，说明我们的历史意味着什么。我们必须进行很多寻宝游戏，并且随着时间的推移进行对话。LenelleMoïse和制片人团队共同努力，通过15次新的采访（包括与Cullors进行的一次）和一套有力且令人惊叹的小插曲进行了互动，以镜子或唤起现实生活中的现实场面，例如16th Street Baptist的轰炸场景伯明翰在阿拉巴马州伯明翰。“与当代镜头并列的大量档案镜头确实是这个开口，这一刻，填补了空白。”库洛斯说：“有很多档案在60分钟的电影中，” Marcano表示同意，并指出，“眼睛”的14部分和构成镜头的镜头代表了黑人历史上更大的“生存档案”。“这从来没有完成。”首先，艾莉森观看了汉普顿原始系列的所有14集。她解释说：“我会对任何报价，任何对我脱颖而出的档案视觉效果，任何有趣的采访，或者我觉得我们真的需要花时间与我进行的任何档案视觉效果进行个人转录。” “然后，我开始考虑这些重新想象以伴随这些历史，并且没有这些历史。”特别节目的成功是该项目的编辑安德鲁·莫罗（Andrew Morrow）。在二人组合碧昂斯（Beyoncé）的《柠檬水》（Lemonade）等项目之后，莫罗（Morrow）加入了Matsoukas的推荐。安德鲁（Andrew）是这里的隐藏武器。”马卡诺（Marcano）说。大多数纪录片都会利用更多抗议活动或新闻录像，“神圣的地面”团队能够更加个性地使他们的特别个性化，这要归功于汉普顿的档案。“我最喜欢的时刻之一是看到罗莎·帕克斯（Rosa Parks）的采访开始。 “您看到她深吸了一口气，她可能被问到了一百万次的问题。但是，在那一刻，您看到罗莎（Rosa）闪烁着公园，这可能是您以前从未见过她的一种方式。她有点恼火；她很累。”“这就是'神圣地面'所做的事情的美 - 这使档案馆复杂化，”他解释说。 “这些已经被狮子到不再存在的地步的人再次成为人类，我们在这一过程中也是如此。”加强“眼睛”大炮的工作，继续超越“神圣的地面”，与目前，该项目的“奖品”的全新迭代曾在该项目的HBO Max.Details上进行，但电影制片人分享了一些他们没有机会通过特殊的特殊探索的主题可以为即将到来的项目做好饲料。我们看到的许多问题（在“神圣的地面”）中提出。” Marcano解释说。 “世界上有很多关于社会运动及其力量以及它们如何塑造我们的对话。”“我们在这部电影中可能会想到的事情，我们不想花费大量时间最后，我们从白人那里看到了这种反弹和愤怒的问题，”他补充说。 “这部电影不是那样的，我们真的很高兴，但是我们可以预料，您知道您将涵盖其中的一些[前进。解放。“在整个编辑过程中，我们意识到它只是脱颖而出。感觉很尴尬。它不适合整体叙述，”艾莉森回忆道。 “这是我深深想念的。但是我理解这个故事以及历史需要时间。但是，我们也发现电影中的受访者已经在谈论它而没有命名。但Marcano补充说，尽管“眼睛”的覆盖范围很大，但这绝对是我不想重新审视的一件。该项目中的监狱和监狱。“我们会把它拿出来。我们看到了一些回声，但是尝试在“神圣的地面”内部制作“眼睛”的迷你剧集并不是正确的，”他解释说。 “我们必须像那种深厚的精神作品一样，将'神圣的地面'站立。知道我们在这里拥有的是涉及情感时刻的掘金，并在有更多时间和空间潜入其中时，可以在系列中进一步探索。 Matsoukas希望将火炬带入下一阶段的电影制作团队，希望“神圣的地面”对后代也是如此。“我希望人们真的受到启发。他们学到的，但也是内在的Gued，” Matsoukas解释说。“他们找到了要记住庆祝，继续战斗的空间，但他们也有安全的空间，彼此之间。”“我最喜欢的作品之一（是受访者，他说，]'这个国家是建立在我们身上的不记得，''她补充说。“这个档案和这篇文章都是关于我们知道我们是谁，我们来自哪里以及我们将在哪里带来未来的。”
The groundbreaking Oscar-nominated and Peabody and Emmy award-winning documentary "Eyes on the Prize," from documentarian and historian Henry Hampton, is coming to a new audience.
HBO Max, HBO and Anonymous Content's AC Studios are joining forces to bring the 14-part PBS docuseries to HBO, where, starting Monday, viewers will be able to stream part one of Hampton's chronicle of Black history and the civil rights movement, which debuted in 1987.
But the legacy of "Eyes on the Prize" does not end there -- part one of "Eyes on the Prize" will be followed by the premiere of a one-hour Max Original documentary special, "Eyes on the Prize: Hallowed Ground" on Aug. 19.
The new special is directed by Oscar-nominated filmmaker and artist Sophia Nahli Allison ("A Love Song for Latasha") with executive producers including Patrisse Cullors, Mervyn Marcano and De La Revolución Films’ Melina Matsoukas, as well as Anonymous Content’s Joy Gorman Wettels, Bedonna Smith, Blackside’s Judi Hampton and Sandra Forman.
Cullors, Marcano, Matsoukas, and Allison joined Variety via Zoom to discuss the new project and what it means to carry on the legacy Hampton started.
Marcano, Blackbird co-founder and award-winning storyteller, and Cullors, the co-founder and former executive director of BLM, artist, activist, bestselling author, boarded the project first, after Gorman Wettels, who had been working to get a new iteration of "Eyes" off the ground for some time, approached Cullors.
“Patrisse and I have known each other from movement work,” Marcano says, explaining how the collaboration began and noting that Gorman Wettels had been working to get a new iteration of “Eyes” off the ground for some time.
Once the duo signed on, he says, the next step was figuring out how to make the documentary “bridge the gap” between past and present, telling stories that have gone untold.
“The question for us was How do we tell a really honest story about what it is to be alive in this moment, and be grieving,” Marcano explains.
“There's also a very unique kind of feeling, where everyone constantly talking about 2020 being this ‘watershed year’ or how ‘There's never been a year like it,” he continues. “And for many of us, this feels like an echo and a repetition . And it is exhausting and we don't know where to go with those feelings. 'Hallowed Gound' was our attempt to meet that moment, and meet those feelings, and introduce new audiences to the 'Eyes' cannon through that.”
Cullors also expressed gratitude for Judi Hampton, Henry's sister and the current president and CEO of Blackside for her support on the project and "the role as an elder that she has played, as she's been holding on to this archive, and she so generously offered it to us."
"I didn't get to meet Henry Hampton," Cullors tells Variety. "But I get to meet him through his beloved sister who has been, honestly, a really incredible guide for us."
Allison adds: " just so grateful that she trusted us with this history, with this task. She has protected the work of Henry and Blackside so beautifully, and it is such an honor to continue this legacy."
In a press release announcing the projects, Hampton said, “I remember watching the pilot of 'Eyes on the Prize' with Henry when it was first created, and I immediately knew this film would be a life-changer for all who saw it."
"A special thank you to Joy Gorman and Anonymous Content for reaching out to me years ago with passion for the original series and a dream to help bring ‘Eyes’ to a new generation," she continued. "We are grateful for the stellar team of artists and activists who’ve come together to reimagine 'Eyes on the Prize' in a way that will move and inspire a whole new audience.”
From there, the team approached Allison, with the idea to do a more unconventional documentary, leaning into her sensibilities as an experimental visual artist to reimagine the work of “Eyes on the Prize” and weave the stories of the past together with Black peoples’ contemporary experiences and struggles.
“This is the dream project to work on,” Allison says. “I was a young girl when I first saw 'Eyes on the Prize' and was just so amazed by the collection of our history. But also, intrigued by what other histories no longer exist as evidence or as a tangible archive.”
Once she officially boarded the project in Dec. 2020, things came together rather quickly, with Matsoukas joining the team, thanks to her longstanding relationship though movement and activism with Cullors and Marcano.
“I was so honored; 'Eyes' had such an effect on me, as a young woman as a filmmaker, and really reinforcing how the weapon of art can be used in movement and was really influential in me creating my voice and the activism that I do in my own language,” Matsoukas says of signing on to executive produce.
Allison calls the Emmy-nominated and DGA and Grammy-winning filmmaker her “fairy godmother.”
“I've learned so much from all three of these individuals,” Allison says, calling Cullors a “healer,” and Marcano, the “Big Papa” of the project. “Their brilliance as artists, as organizers and movement leaders, so which is felt like the correct marriage of minds coming together to make something radically new.”
Filming began in earnest in February, with the crew working through the added challenge of COVID to get the timely project done.
"Creating a documentary you need time, and then on top of that, we're trying to incorporate these magical realist elements, and it was not easy," Allison recalls. "But we all understood what this project was, what it could be, and this became my life for months."
It was a challenge, but, the filmmaker notes, "Henry Hampton's experience was also a challenge. He did not have an easy journey creating 'Eyes on the Prize' and so I think it's a really interesting echo of what it means to put together our histories. We're having to do a lot of scavenger hunt, and we're having conversations through time."
To craft the companion film, Allison, her co-writer Lenelle Moïse and the team of producers worked together to interwork the archival footage with 15 new interviews (including one with Cullors) and a set of powerful and visually-stunning vignettes choreographed to mirror or evoke real life scenes like the bombing of the 16th Street Baptist Church in Birmingham, Alabama.
"Having so much of the archival footage in juxtaposition to contemporary footage was really this opening, and this moment, to fill in the gaps," Cullors says.
"There's so much archive that you couldn't possibly put into the 60 minute film," Marcano agrees, noting that the 14-parts of "Eyes" and the footage that made it up represent the greater "necessity for a living archive" of Black history. "It's never complete."
First, Allison watched all 14 episodes of Hampton's original series. "I would do my own personal transcription of any quote, any archival visual that stood out to me, any interview that was interesting, or that I felt we really needed to spend time with," she explained. "Then I began thinking about these re-imaginings to accompany these histories, and void of these histories."
A big part of the success of the special is thanks to the project's editor Andrew Morrow. Morrow joined the project on the recommendation of Matsoukas, after the duo collaborated on projects like Beyoncé's "Lemonade."
"Andrew's ability to find the echoes in the archive -- visually sonically, and emotionally -- is unmatched. Andrew was the hidden weapon here," Marcano says.
Where most documentaries would've utilized more protest or newsreel footage, the "Hallowed Ground" team was able to personalize their special even more thanks to Hampton's archive.
"One of my favorite moments is seeing the beginning of Rosa Parks' interview," Marcano adds, as an an example of Allison and Morrow's "brilliance." "You see her take a deep breath about a question she's probably been asked a million times. But it's that moment, where you see Rosa Parks in a flash, and probably a way that you haven't seen her before. She's slightly irritated; she's tired."
"That's the beauty of what 'Hallowed Ground' is doing -- it's complicating the archive," he explains. "These people who have been lionized to the point where they don't exist anymore get to become human again, and so do we through that process."
The work to bolster the “Eyes” cannon, continues beyond "Hallowed Ground," with a brand-new iteration of "Eyes on the Prize" which set to stream on HBO Max.
Details of the project are currently under wraps, but the filmmakers share some of the topics they didn't get a chance to explore via the special that could make good fodder for the upcoming project.
“It's going to be a further exploration of a lot of the issues we see come up ,” Marcano explains. “There's lots of conversation out in the world about social movements and their power, and how they shape us.”
“Something we imagined early on that we might think about in this film, and we didn't want to spend a ton of time on in the end was this question of backlash and rage that we're seeing from white people,” he adds. “This film was not about that, and we're really glad about it, but we can anticipate that we will you know be covering some of that ”
Another topic left on the cutting room floor was the discussion of land liberation.
"Throughout the editing process we realized it just stood out. It just felt awkward. It didn't fit within the overall narrative," Allison recalls. "That's one that I deeply miss. But I understand that story, and that history, needs time. But also we discovered that our interviewees in the film, were already speaking about that without naming it. But that definitely is a piece that's not in there that I would love to revisit one day."
Despite the fact original "Eyes" had a lot of coverage of Attica, Marcano adds, the filmmakers couldn’t find a place for the discussion about closing prisons and jails in this project.
"We would take it in, we'd put it out. We saw some echoes, but it just didn't feel right to try to make mini-episodes of 'Eyes,' inside of 'Hallowed Ground,’" he explains. "We had to make 'Hallowed Ground' stand on its own, as that deeply spiritual piece. Knowing that what we have here are nuggets that meet an emotional moment and serve as jumping off points to explore further in the series when there's more time and space to dive into it."
Ultimately, the same way that "Eyes on the Prize" influenced the filmmaking team that is carrying the torch into this next phase, Matsoukas hopes that "Hallowed Ground" does the same for future generations.
"I hope that people are really inspired; that they learn, but are also intrigued," Matsoukas explains. "That they find space to remember to celebrate, to continue the fight, but they also have room for safety, and each other."
"One of my favorite pieces 'This country was built on us forgetting and not remembering,'" she adds. "This archive and this piece is all about us knowing who we are, where we came from, and where we will take the future."
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非常不错，感谢楼主整理。。
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