Minority Views: “Liberator”, American Cinema, and the 1960s African American Film Criticism
Sebastian Smoliński
sebastian.smolinski@uw.edu.plUniversity of Warsaw (Poland)
https://orcid.org/0000-0002-6161-6875
Abstract
The article reconstructs the discourse of film criticism in Liberator – a radical African American magazine published between 1961 and 1971. Employing Pierre Bourdieu’s theory of the cultural field, the author situates Liberator within the context of the 1960s, civil rights movement, and Black Arts movement, and analyses the magazine’s role in film culture of the era, as well as the links between the magazine and important black filmmakers and film writers. Four aspects of Liberator’s film criticism are explored: cultural memory of past representations, criticism of genre filmmaking, the need for cinematic realism, and the possibility of creating a distinct black cinema. The case study of the critic Clayton Riley’s career presents an author who wanted to continue his radical criticism in the mainstream press (The New York Times). Liberator’s legacy is framed as essential in understanding the tradition of African American film criticism.
Keywords:
“Liberator” magazine, African American cinema, civil rights movement, Black Arts movement, black radicalism, black pressReferences
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Authors
Sebastian Smolińskisebastian.smolinski@uw.edu.pl
University of Warsaw Poland
https://orcid.org/0000-0002-6161-6875
Film scholar and critic, PhD student at the American Studies Center at the University of Warsaw. Co-author of several publications, including the Spanish-language monograph La doble vida de Krzysztof Kieślowski (2015), a book about African American cinema, and a Polish-English monograph of David Lynch. Recipient of the 2019-2020 Kosciuszko Foundation scholarship for teaching history of Polish film at Cleveland State University in Ohio. He is preparing his PhD dissertation about American film criticism and the construction of national identity.
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