Viewing page 8 of 20

This transcription has been completed. Contact us with corrections.

Transcription: [00:17:07]

{SPEAKER name="Clyde Taylor"}
I find this in several independent black film maker's work,
[00:17:10]

{SPEAKER name="Clyde Taylor"}
that and some of them told me in interviews.
[00:17:12]

{SPEAKER name="Clyde Taylor"}
I said "Well, where did the intensity come from this film?"
[00:17:15]

{SPEAKER name="Clyde Taylor"}
They said, Well, it came from all the the-- the struggle I had to do to make this film;
[00:17:20]

{SPEAKER name="Clyde Taylor"}
to get it on the screen.
[00:17:23]

{SPEAKER name="Clyde Taylor"}
And one of the scenes where this shows up, I think, is in the motorcycle scene
[00:17:27]

{SPEAKER name="Clyde Taylor"}
where he indulges in a kind of combat; kind of a sexual combat, as a matter of fact.
[00:17:32]

{SPEAKER name="Clyde Taylor"}
Uhh but-- but it seems to me that that's one moment where his creative need
[00:17:39]

{SPEAKER name="Clyde Taylor"}
is-- is translated into a kind of appropriative metaphor,
[00:17:43]

{SPEAKER name="Clyde Taylor"}
and that-- in that instance, as other instances throughout the film,
[00:17:47]

{SPEAKER name="Clyde Taylor"}
one more experience is this kind of creative rage.
[00:17:51]

{SPEAKER name="Clyde Taylor"}
If you remember Sula, Tony Morrison's novel, Sula.
[00:17:54]

{SPEAKER name="Clyde Taylor"}
Uhh, that work, that character is also explained largely by
[00:18:00]

{SPEAKER name="Clyde Taylor"}
a kind of, uh, wild freedom that she expresses,
[00:18:05]

{SPEAKER name="Clyde Taylor"}
in many cases, in a destructive mode because the creative possibilities
[00:18:09]

{SPEAKER name="Clyde Taylor"}
had been denied her as a black woman in the society.
[00:18:14]

{SPEAKER name="Clyde Taylor"}
The film is macho, and that's one of the ways that dates-- dates in a lot of ways.
[00:18:20]

{SPEAKER name="Clyde Taylor"}
It wasn't meant to be looked at this way,
[00:18:22]

{SPEAKER name="Clyde Taylor"}
and-- and we will see bell bottom trousers, and we'll we might even laugh at the style, you know what I'm saying.
[00:18:27]

{SPEAKER name="Clyde Taylor"}
But that-- that can't be helped. But the-- it's-- it's very macho,
[00:18:31]

{SPEAKER name="Clyde Taylor"}
very chauvinistic, I think, and-- and that's probably explained by his being autobiographical.
[00:18:37]

{SPEAKER name="Clyde Taylor"}
Uhh, is bout a man; uh, male sexuality.
[00:18:41]

{SPEAKER name="Clyde Taylor"}
[[someone clears throat]]
At the time the film came out, it was very controversial,
[00:18:45]

{SPEAKER name="Clyde Taylor"}
uh, within the black community. Many blacks,[[someone coughs]] Lerone Bennet,
[00:18:50]

{SPEAKER name="Clyde Taylor"}
uh, Haki Madhubuti, [[someone blows nose]] who then was Don Lee;
[00:18:54]

{SPEAKER name="Clyde Taylor"}
several attacked the film because, essentially, they thought it was
[00:18:56]

{SPEAKER name="Clyde Taylor"}
a negative portrayal of black people.
[00:19:01]

{SPEAKER name="Clyde Taylor"}
They thought it was, uh,-- they were looking for something much more positive.
[00:19:04]

{SPEAKER name="Clyde Taylor"}
Van Peebles is very clear in aiming this film at the lowest strata's of black--
[00:19:10]

Transcription Notes:
---------- Reopened for Editing 2023-12-19 22:15:23 ---------- Reopened for Editing 2023-12-27 21:39:30 ---------- Reopened for Editing 2023-12-28 20:22:42 PLEASE WATCH THE "INSTRUCTION FOR TRANSCRIBING AUDIOS" and inserting timestamps.