Five things to do or see this month
Issue section:
Issue:
Doreen Fletcher, A Retrospective
Nunnery Gallery, Bow Road, London, until 24 March
Doreen Fletcher, A Retrospective
Nunnery Gallery, Bow Road, London, until 24 March
Mark Brown, author of Modernism and Scottish Theatre Since 1969, gives the run down on how Scotland’s particular kind of Reformation stunted the development of dramatic writing for centuries, not really recovering until the early 1900s.
To talk about Scottish theatre in the late 20th and early 21st centuries we must, paradoxically, start in the 16th century. For it was then, amid the ferocious indignation and granite moral certainties of the Calvinist Reformation, that a new course was set for Scottish society and culture.
In the case of theatre, it meant no course at all. For the virulent Protestant reformer John Knox and his fellow Calvinists, the theatre was a cesspit of godless recreation. Consequently, as the roofs were ripped from the Catholic abbeys, the theatres, too, were closed down.
What does cinema know that we don’t? That is the intriguing question posed by two powerful documentaries about the cinematic legacy of the Nazi era and the Weimar Republic respectively.
Inspired by the work of critical theorist and film critic Siegfried Kracauer, Hitler’s Hollywood investigates Nazi cinema as a style unto itself, completely under the control of the Minister of Propaganda, Josef Goebbels.
“Driving while black” is no 21st century curse. Since the earliest days of the motor car black American drivers have faced oppression. At petrol stations, restaurants, resorts and motels white supremacy has reigned.
Thus Harlem postal worker Victor Hugo Green compiled a guidebook in 1936 so that “the negro motorist” could “vacation without aggravation”. It was unknown beyond black families and ceased publication in 1966.
Love Sonia comes at a time when a 200 million-strong strike was held in India and 5 million women formed a wall of protest. The correlation between films about resistance and women’s rights in India and the explosive movements on the streets that the country has seen is not necessarily direct. But it is no surprise that the struggles that occur in the real world force the film industry to adapt to reflect and embolden the mood for change.
American cinema’s appetite for themes of race and class shows no sign of abating. This latest contribution from debut writer and director Reinaldo Marcus Green comes in a series of increasingly class-conscious movies.
Monsters and Men’s raw aesthetic and unapologetically direct style, stripped of the self-conscious pretensions of some of its predecessors, reinvents social realism for 2019. It makes for a gripping 90 minutes that propels us into the Brooklyn enclave of Bed-Stuy and its inhabitants’ problems, joys and struggles.
We first see Rosa Luxemburg in a snowy prison yard, guards patrolling the walls high above her. As she walks a raven hops beside her, the first of many references to Rosa’s affinity with nature. It’s 1906 and Rosa has been locked up in Poland for her involvement in the 1905 Russian Revolution.
American cinema’s appetite for themes of race and class shows no sign of abating. This latest contribution from debut writer and director Reinaldo Marcus Green comes in a series of increasingly class-conscious movies.
Monsters and Men’s raw aesthetic and unapologetically direct style, stripped of the self-conscious pretensions of some of its predecessors, reinvents social realism for 2019 and makes for a gripping 90 minutes that propels us into the Brooklyn enclave of Bed-Stuy and its inhabitants’ problems, joys and struggles.
The so called “alt-right” project is an attempt to throw an ideological blanket over a range of deeply reactionary political tendencies. These range from racist right wing “mainstream” conservatives (such as Boris Johnson and Jacob Rees-Mogg in Britain), to far-right populists (like US president Donald Trump and Hungarian prime minister Viktor Orbán) and outright fascists (such as Marine Le Pen in France and Austrian vice-chancellor Heinz-Christian Strache).
Who Will Write Our History
Learning from the Righteous, High Barnet, London, 27 January