Customer Reviews

Why We Make Movies: Black Filmmakers Talk About the Magic of Cinema

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It is always a treat to read a work by an author who masters his subject and yet is very humble about his achievement. George Alexander's knowledge of movies comes from exposure to the magic of film at a young age, but also through learning the craft of screenwriting, and filmmaking in general, after college. His book is a gold mine as far as learning about black filmmakers and black filmmaking is concerned; it is almost an alternative, outsider's take on the American Film Industry and beyond. What makes it invaluable though is more that the reader is granted access both to the "Usual Suspects" of black filmmaking fame and the talented, less well-known and upcoming black filmmakers. Furthermore, one of Alexander's major achievements is to have managed to create a space where these two categories of black filmmakers could give us "a master class" in filmmaking.

Given the dynamism, diversity, and ever growing number of black filmmakers making movies successfully nowadays, it was always going to be difficult for Alexander to decide who would be featured in "Why We Make Movies": no criticism focused on why he did not include so and so cannot be taken seriously. But how do you conceptualise such a book? Alexander does a brilliant job here because he manages to propose a structure based on chronology, genre, filmmaking potential, filmmaking achievement, and crossing over, to name but a few. Yet Alexander seems to have no other ambition than taking the reader on "an odyssey across the plains of Black America's contributions to the magic of cinema".

The inclusion of Prof. Manthia Diwawara as the exception that confirms the rule in Alexander's book is more than justified. It is beyond the scope of this review to elaborate on Diawara's extraordinary body of work, e.g. his contributions to African/Black Diapora Studies. However, I would say that with Diawara, Haile Gerima, and Euzhan Palcy featured in "Why We Make Movies", for future editions Alexander might want to widen its concept so as to cater for Black Diaspora Cinema more strongly, and to refocus its central thesis in order to make it less casual. I am putting forward this latter point because "Why We Make Movies" is already a scholarly book, yet one in a position to be improved a great deal. No one interested in (black) cinema can afford to miss it: "that's the truth rruth".

Lovers of film, and especially those individuals who are interested in the behind-the-scenes action of movie making, will be thrilled by George Alexander's Why We Make Movies. Not only does the book get up close and personal with 35 or so of the most notable filmmakers of our time, it also serves as a historical context for black film, and provides information not commonly known about our favorite actors (including how Tupac got his first role in Juice), scripts, budgets, television productions, and the many problems encountered and conquered when it comes to filmmakers such as Spike Lee, George Tillman, Keenen Ivory Wayans, Robert Townsend, John Singleton, and many more.

The book is upfront about the racial and discriminatory issues that plague the industry and how, perhaps, one should approach filmmaking once they are aware of all the long standing issues. You get to read which scene Spike Lee regrets out of the dozens of movies he's made; you get to read what kind of power, if any, do successful black filmmakers have; you get to know their feelings about the current slate of movies that are being released, how directors prepare for shoots, just a wealth of vital information and tidbits that will broaden your knowledge about the industry.

Although the age range, gender, and backgrounds of the interviewees vary, one common bond is their love for film. Why We Make Movies is an important, eye-opening account that will cause your view of the magic of films to be enhanced.

Why we make movies is a question and answer book with the author, and several contemporary black filmmakers. Personally I found it very refreshing that the answers given are straight from the artists themselves. This means that we get to hear "straight from the horse's mouth" how these unique people got started, and why they make films. I ordered this book for two academic presentations, and two papers. One paper and accompanying presentation about a Biography on our choice of Women Director's (Julie Dash for me,) and another paper and accompanying presentation on that director as an auteur. So far, I have referenced more information from this book than all of the information from BOTH of our ASSIGNED textbooks from class. Offering unique, personal confessions from these filmmakers, this author does a nice job of bringing something intimate, fun, and unique in a book that is refreshing to read.

for a class and I received it within the next week, and it was just in time! This book is very interesting and informative for those who want to be inspired to make a meaningful movie.

I found the various filmmakers stories to be very interesting. I would recommend this book.

Flashback to 1974. That was the year movie critic Donald Bogle wrote his seminal book, "Toms, Coons, Mulattoes, Mammies & Bucks", and suggested that these five African-American stereotypes were used everyday in the mass media and in particular in the cinema. Bogle's five main stereotypes were based on his research of the images that white Hollywood directors and movie audiences advanced about African-Americans. Now fast forward to 2003. Today many of these same images are still reinforced, reshaped and even rewind by black filmmakers, many of whom were interviewed in George Alexander's fine book, "Why We Make Movies: Black Filmmakers Talk About the Magic of Cinema." Still I highly recommend this book for anyone interested in understanding the philosophies and perseverance strategies of this creative colony of artists, activists and scholars. Lots of war stories. And for the most part, they did not shy away from discussing racism in Hollywood. The book is easy to read, and although not billed as a scholarly treatise, wears very well its key words of film and African American/African studies. In fact media and communication scholars will have little problem finding examples of agenda setting theory, propaganda, social responsibility theory and spiral of silence. But even more important, laypersons, movie goers and aspiring filmmakers will enjoy Alexander's ability to present these filmmakers and artists as approachable and genuinely a part of the larger African world community. I am an "index person" and "summary person," therefore, I think these two elements would have added greatly to this book. But I appreciated the fact that whenever a movie was mentioned, the date was included. Journalist George Alexander likes movies and his book provides us with a nice snapshot of many of the industry's black participants as scholars, mainstream filmmakers, documentarians and just plain old entertainers - flaws and all.

George Alexander's book is a winner! Two thumbs up. One of the best books on Black film available. Look for Alexander to becoming the next great film reviewer. Take it from me - buy this book. You will enjoy it!