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

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Why We Make Movies: Black Filmmakers Talk About the Magic of Cinema ReviewIt 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".Why We Make Movies: Black Filmmakers Talk About the Magic of Cinema Overview

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