Frantz Fanon, born on this day in 1925, was a West Indian Pan-Africanist philosopher and Algerian revolutionary most known for his text The Wretched of the Earth.
Fanon was born to an affluent family on the Caribbean island of Martinique, then a French colony which is still under French control today. As a teenager, he was taught by communist anti-colonial thinker Aimé Césaire (1913 - 2008).
Fanon was exposed to much European racism during World War II. After France fell to the Nazis in 1940, a Nazi government was set up in Martinique by French collaborators, whom he describedas taking off their masks and behaving like "authentic racists".
Fighting for the Allied forces, Fanon also observed European women liberated by black soldiers preferring to dance with fascist Italian prisoners rather than fraternize with their liberators.
While completing a residency in psychiatry in France completing, Fanon wrote and published his first book, "Black Skin, White Masks" (1952), an analysis of the negative psychological effects of colonial subjugation upon black people.
Following the outbreak of the Algerian revolution in November 1954, Fanon joined the Front de Libération Nationale, a nationalist Algerian party. Working at a French hospital in Algeria, Fanon became responsible for treating the psychological distress of the French troops who carried out torture to suppress anti-colonial resistance, as well as their Algerian victims.
While organizing for Algerian independence in Ghana, Fanon was diagnosed with leukemia that would ultimately kill him. He spent the last year of his life writing his most famous work, "The Wretched of the Earth" (French: Les Damnés de la Terre). The text provides a psychiatric analysis of the dehumanizing effects of colonization and examines the possibilities of anti-colonial liberation
Following a trip to the Soviet Union to treat his leukemia, Fanon came to the U.S. in 1961 for further treatment in a visit arranged by the CIA. Fanon died in Bethesda, Maryland on December 6th, 1961 under the name of "Ibrahim Fanon", a Libyan nom de guerre he had assumed in order to enter a hospital after being wounded during a mission for the Algerian National Liberation Front.
"In the World through which I travel, I am endlessly creating myself."
Biography :fanon:
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Haha I finally watched it yesterday. I spent the bulk of the movie being like "this is pretty good but I can't get this all to cohere - why would they be Irish" and it took me to the last 10 minutes to realize no this a prestige black horror this is just a silly fun movie and it knows it. Had a great time it was good stuff.
ALSO GOOGLE IS FUCKING FREE!!!! JUST GOOGLE SHIT YOU DONT UNDERSTAND!! the writer literally has explained his intentions with making the vampire irish. like yall really just assume if you dont understand something the first time it must be just silly fun slop when this movie has more thought and detail put into it than anything else youre gonna see this year. it takes one second to google shit instead of just talking to talk.
I did read what Coogler wrote about making him Irish you need to cool out. I just don't think it's interesting.
every single scene and detail of this movie had a historian consultant. This was probably one of the most attentive to detail movies in the past decade. like literally almost every single thing in this movie was so deeply intentional you could watch it 100 times and find something new in it every time..... this is the worst film take I've ever seen on this sight. you REALLY cant understand why the white man who is forcing a whole barn of black people to ASSIMILATE to his worldview on order to EXPLOIT black people not through any inherent hatred of black people but as a means to an end to reconnect to parts of his culture that have been eradicated through colonialism. do you have any understanding of the history of Irish people and, blackface and racism in this country?
literally everything in this movie was thought out, the fucking red in the vampires eyes is a reffrence to the personification of death in puss in boots for fucks sake, so much of the music was so historically accurate it was recorded by music historians, the gumbo had a consultent credit, the accents were so correct down to the fact that the asian husband who works in the store that serves black people has a more black accent and the wife has a whiter one. the SIGNS in the store are accurate with the misspellings, the COSTUMING is so fucking highly detailed in ways i cant even get into without spoilers, like holy fucking shit did you watch the movie with youre eyes closed or do you just dismiss black art as "silly fun" becuase its too smart for you to get on one viewing and requeries some level of cultural competency to understand.
Lmao dude chill the fuck out I liked the movie I just don't think it's deep like you do historically consultants don't make a movie coherent. Glad you liked it too.
Okay but the red in the vampire's eyes being a reference to a childrens animated movie or the gumbo being authentic doesn't really affect the things upon which me and my interlocutor are commenting.
I will grant you for the sake of argument, without having any knowledge of the subject, that the movie is incredibly well researched, and that every piece of set dressing, every single line and every costume is very authentic even the stuff brought in a clearance sale from a marvel movie. I will also grant you, authentically and not just for the sake of argument here, that there is a lot of value in portraying an underserved community (As indeed the post emancipation pre civil rights black south communities are) authentically in a piece of art, and just allowing it to authentically exist in that milieu. (Especially since this work isn't about the civil rights struggle as a historical event in the sense of being a historical dramatisation and does not center or lionise yankees)
SPOILERS AHEAD. Well, a spoiler but you already said the vampire thing and that's the spoiler. However my comment is that the movie outright states its thesis about the timelessness of art and shows a villain interested in harnessing this power, but it also shows the process of vampirism separating people from their time and becoming timeless in themselves (Losing period accents or adopting more modern stylings etc) and has the villain engaging in equally impressive displays of artistic skill showing works which are by their nature as classics timeless. You can disagree with this analysis, you can even call it shallow or bad if you want, but I don't think any of what you said so far has invalidated or even contested it. And it is a movie that is fine with being fun, it wouldn't have a scene where the heroes almost come to blows twice over the taste of garlic otherwise.
It definitely wants to say something about the timelessness of art, the way inter-generational trauma is passed on, and the role of religion. However this is undermined slightly by the fact that the plot has absolutely nothing to do with that, and the fact that the villains are doing great renditions of certifiable classics (And also that the villains are less time bound than the protagonists)
I liked it a lot.
Oh for sure it has way too many ideas haha. I felt the same way about Us (2019), but unlike Us I felt like this movie didn't feel the weight of its concepts and decided to just rely on vibes and I think it's better for it.