纪录片自媒体解说素材-新闻动态参考-“再次崛起：塔尔萨和红色夏天”评论：黎明·波特检查美国的反黑人吉姆·克劳大屠杀/‘Rise Again: Tulsa and the Red Summer’ Review: Dawn Porter Examines America’s Anti-Black, Jim Crow Pogroms
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0508/2144mmpexhx01fx.jpg“再次崛起：塔尔萨和红色夏天”评论：黎明·波特检查美国的反黑人吉姆·克劳大屠杀
‘Rise Again: Tulsa and the Red Summer’ Review: Dawn Porter Examines America’s Anti-Black, Jim Crow Pogroms
“再次上升：塔尔萨和红色的夏天”始于工人用橙色油漆标记绿草斑块的工人。去年夏天，在俄克拉荷马州塔尔萨的Oaklawn公墓发掘的推土机的哔哔声听起来像是发掘的。法医人类学家已经提出了表明该地点可能有大规模坟墓的数据。导演黎明·波特（Dawn Porter）在1921年的塔尔萨种族大屠杀中的洞察力，令人寒冷，经常优雅的纪录片以及其他强烈的反黑暴力暴力爆发 - 使1919年使1919年成为白人暴民最致命的人之一 -6月18日首映在《国家地理》和《胡鲁》上。“再次崛起”是越来越多的电影和电视连续剧（小说和非小说）的艰难但又受欢迎进入我们的现在。它从六月开始流媒体（一个复杂，有力的假期）并不是很小的事情。似乎是在可预见的未来，欢乐一定会与病理性种族主义的震撼证据纠缠在一起。年度标志着大屠杀的100周年，该屠杀使该国当时最繁荣的城镇之一在瓦砾和灰烬中。据信多达300人被杀，35个正方形的街区被大火夷为平地，相当于公民和繁荣的经济体的近乎修饰。在塔尔萨（Tulsa）的火车轨道上，格林伍德（Greenwood）的黑色飞地（称为“黑街”）已成长为繁华的商业中心。历史记录的受害者充满了差距和故意修复，这是许多美国人最近通过HBO的2019年系列“守望者”得知了这场大屠杀的受害者。 “再次崛起”在纠正这种无知方面走了一段遥远的一部分。在“再次崛起”中，死者的出土是一种政治行为，一种道德行为，一种精神行为。尽管在电影结尾处，但这并不是结论性。 “我觉得当他们挖时我必须在那里丹宁·布朗（Deneen Brown）说。 PBS本月初。 （她是该文档的制片人）。在这里，《华盛顿邮报》的屡获殊荣的记者在许多方面都以许多方式指导观众通过吉姆·克劳（Jim Crow）的残酷行为。她还是俄克拉荷马州的本地人。虽然其他一些受访者在波特的电影中偶尔出现，其中包括塔尔萨市长G.T. Bynum和俄克拉荷马州代表Regina Goodwin- 董事以巧妙而微妙的平衡感涵盖了材料。她找到了叙述这个故事的方法，而不会以压倒性的卑鄙的待遇来反映黑人观众，同时抓住那些可能希望沉迷于美国平等幻想的观众。 “再次崛起”以口才说，真正理解邪恶完成了，我们需要掌握恐怖主义之前的什么。布朗在这部电影中的作用强调了波特（前律师）的工作，这给她的工作带来了什么：对背景的尊重，以及对权力的细微努力以及机构如何利用它的机构如何利用它好而生病。去年，她的文档非常不同，“约翰·刘易斯：好麻烦”和“我看的方式”，使娱乐性和扎根于后来的佐治亚小牛（和官方白宫摄影师）的作品Pete Souza.among Porter的技能她有能力在向人类受试者留下叙事时提出机构问题。媒体的收获不仅仅是一张客串，因为她展示了这一时期蓬勃发展的黑人新闻的影响，以及所谓主流论文的角色。塔尔萨报纸的标题煽动了暴力（“纳布·黑人在电梯中攻击女孩”的标题）。从更微妙的角度来看，布朗谈到了她必须说服编辑的方式，挖掘of一个墓地不是塔尔萨故事的结尾及其对民族理解的重要性。值得注意的是，据说沉迷的事件是一个熟悉的事件：一名19岁的鞋匠被指控殴打一名年轻人电梯操作员。在一定程度上要感谢一群格林伍德男子的工作，他们带着武器到达法院，以保护他免于被私刑，该男子幸存下来，指控被丢弃，他被历史迷失了。据称袭击的那个年轻女子从未指责他 - 相反 - 她拒绝提出指控。“再次上升”建立了一个案子，即内战后，黑人成就经常遇到残酷，甚至是大屠杀。波特向我们展示了成功的样子。董事利用了一系列档案图像和录音，使奴隶制后的韧性是急需的特写镜头。黑人骑马，男人和他们的妻子的照片穿着最好的散步，而士兵则是G穿着他们的制服。红色的夏天的流血和纵火预示了塔尔萨，当黑人士兵从第一次世界大战的前线返回。奥马哈，芝加哥，华盛顿和孟菲斯发生了大屠杀。还有一些抵抗的例子：士兵在华盛顿的街道上与白人作战，而NAACP举行了著名的沉默游行以抗议。除了许多塔尔萨人之外，这部电影还花时间与伊莱恩（Elaine）大屠杀的后代一起度过。塔尔萨墓地的法医作品提供了关于美国过去需要创造的美国过去的富裕隐喻，这些鬼魂涉及需要称呼的幽灵。尽管可能是真实的，但这种进步听起来与悲伤和创伤脱节。毕竟，寻找大众坟墓对被杀的后代具有深刻的个人意义。在电影后期的一个场景中，布朗与伊莱恩·洛克（Elaine Legacy Center）代表的两名伊莱恩（Elaine）居民站在一起。在一个平坦而休耕的领域，他们三个人祈祷，c召集被谋杀的灵魂坦率地对我们说话 - 在工作继续时说话然后休息。
“Rise Again: Tulsa and the Red Summer” begins with workers marking off patches of green grass with orange paint. The beeps of a bulldozer sounded as excavation at the Oaklawn cemetery in Tulsa, Oklahoma, got underway last summer. Forensic anthropologist had turned up data that suggested there might be a mass grave at the site. Director Dawn Porter’s insightful, chilling, often elegant documentary about the Tulsa Race Massacre of 1921 and the other virulent outbursts of anti-Black violence that preceded it — making 1919 one of the deadliest for Black Americans at the hands of white mobs — premieres June 18 on National Geographic and Hulu.
“Rise Again” is a hard but welcome addition to a growing collection of movies and television series — fiction and nonfiction — that insists viewers reckon with the nation’s violent, anti-Black past, a past that has carried over into our present. That it begins streaming on Juneteenth — a complicated, powerful holiday — is no small matter. It seems that for the foreseeable future, jubilation is necessarily entwined with jarring evidence of pathological racism.
Last month marked the 100th anniversary of the massacre that left one of the country’s most prosperous towns at the time in rubble and ash. As many as 300 people are believed to have been killed and 35 square blocks were razed by fire, amounting to the near-eradication of a citizenry and a thriving economy. Across the train tracks from Tulsa, the black enclave of Greenwood (known as “Black Wall Street”) had grown into a bustling business center. Victims of a historical record rife with gaps and intentional redactions, quite a few Americans learned of the massacre only recently, by way of HBO’s 2019 series “Watchmen.” “Rise Again” goes a far piece in remedying that ignorance.
In “Rise Again,” the unearthing of the dead is a political act, a moral act, a spiritual act. Though at the movie’s end, it was not conclusive. “I feel I had to be there when they dug for the first time to search for the bodies of Black people who were killed,” says DeNeen Brown.
Brown features prominently in “Rise Again” but also in “Tulsa: The Fire and the Forgotten” (by Jonathan Silvers), which premiered on PBS earlier this month. (She was a producer on that doc). Here, the award-winning reporter for the Washington Post acts in many ways as the film’s Virgil guiding audiences through the inferno of Jim Crow brutality. She is also a native of Oklahoma.
While a few other interviewees make dual appearances in Porter’s film — among them, Tulsa mayor G.T. Bynum and Oklahoma representative Regina Goodwin — the director covers the material with a deft and delicate sense of balance. She finds ways to recount the story without retraumatizing black viewers with overwhelming evidence of despicable treatment, while grabbing hold of those viewers who may wish to slumber in the fantasy of American equanimity. “Rise Again” argues with eloquence that to truly understand the evil done, we need to grasp what was there before the terrorism.
Brown’s role in this film underscores what Porter, a former attorney, brings to her work: a nimble respect for context, as well as a nuanced grasp of power and how institutions leverage it for good and ill. Last year, her very different docs, “John Lewis: Good Trouble” and “The Way I See It,” gave entertaining and grounded glimpses of the work of the later Georgia maverick (and official White House photographer) Pete Souza.
Among Porter’s skills is her ability to ask questions of institutions while hewing to the human subjects driving her narratives. The press gets more than a cameo, as she shows the influence the burgeoning Black press of the period, as well as the role so-called mainstream papers had. A Tulsa newspaper headline fomented the violence (“Nab Negro for Attack of Girl in Elevator” read a headline). On a more subtle note, Brown talks about the way she had to convince her editors that the digging of one gravesite was a beginning not the end of Tulsa’s story and its importance to the national understanding.
It’s worth noting that the event that was said to precipitate was a familiar one: A 19-year-old shoeshine worker was accused of assaulting a young elevator operator. Thanks in part to the work of a group of Greenwood men who arrived at the courthouse with arms to protect him from being lynched, the man survived, the charges were dropped, and he was lost to history. The young woman whom he allegedly assaulted never accused him — to the contrary — and she refused to press charges.
“Rise Again” builds a case that after the Civil War, Black achievement was often met with brutality, even carnage. Porter shows us what that success looked like. Making use of a trove of archival images and recordings, the director gives that post-slavery resilience a much-needed closeup. Images of Black men on horseback, men and their wives dressed in their finest out for a stroll, and soldiers beaming in their doughboy uniforms.
The Red Summer’s bloodshed and arson foreshadow Tulsa, and surged as Black soldiers returned from the frontlines of World War I. There were massacres in Omaha, Chicago, Washington and Memphis. There were also examples of resistance: Soldiers fought whites on the streets of Washington, and the NAACP held the famous Silent March in protest. In addition to a number of Tulsans, the film also spends time with descendants of the massacre in Elaine, Ark.
The forensic work at Tulsa’s cemetery provides rich metaphors about America’s past needing to be made present, about the ghosts needing to be called forth. As true as that may be, this advance sounds too disconnected from the grief and trauma. After all, the search for mass graves has profoundly personal meaning for the descendants of those slain. In a scene late in the movie, Brown stands with two Elaine residents, representatives of the Elaine Legacy Center. In a flat and fallow field, the three of them pray, calling forth the souls of the murdered to speak frankly to us — to speak and then rest‚ while the work continues.
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感谢论坛提供了这么多好资源啊 太好了，终于找到宝藏论坛了！ 感谢论坛提供了这么多好资源啊 感谢分享，下载收藏了。最喜欢高清纪录片了。 太好了，终于找到宝藏论坛了！ 感谢分享啊。谢谢版主更新资源。 感谢分享，下载收藏了。最喜欢高清纪录片了。
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