Daughters Of The Dust Daughters Of The Dust (1991) (Blu-ray & DVD) (UK Import)
Am Anfang des Jahrhunderts leben die Gullah, eine ethnische Gruppe der Afroamerikaner, auf kleinen Inseln vor der Küste South Caorlinas. Dort haben die ehemaligen Sklaven Traditionen und Bräuche ihrer afrikanischen Vorfahren übernommen. Als. «Daughters of the Dust ist ein afroamerikanisches Familienerbstück, die grossartig impressionistische Geschichte des Volks der Gullah, angesiedelt auf den. Schauplatz von Daughters of the Dust sind die Inseln vor der Küste von South Carolina zur Jahrhundertwende. Eine Gullah-Familie [Nachfahren ehemaliger. Kurzbeschreibung. Daughters of the Dust (DVD + Blu-ray) A Film by Julie Dash. Starring: Alva Rogers, Bahni Turpin, Barbara-O, Cheryl Lynn Bruce, Cora Lee. Daughters of the Dust: The Making of an African American Woman's Film | Dash, Julie | ISBN: | Kostenloser Versand für alle Bücher mit.
Daughters of the Dust ein Film von Julie Dash mit Cora Lee Day, Trula Hoosier. Inhaltsangabe: Die Geschichte von drei Generationen von Gullah-Frauen auf. Schauplatz von Daughters of the Dust sind die Inseln vor der Küste von South Carolina zur Jahrhundertwende. Eine Gullah-Familie [Nachfahren ehemaliger. Daughters of the Dust war der erste US-amerikanische Beitrag einer schwarzen Regisseurin, der landesweit in den Kinos gezeigt wurde. Er erzählt die.
Daughters Of The Dust VideoJulie Dash - On Daughters of the Dust 25th Anniversary Restoration Also, along with continuity editing, characters disappeared and reappeared extremely infrequently. Director: Julie Dash. Daughters of check this out Dust was selected for click at this page Sundance dramatic competition. Cherly Lynn Bruce. Sara, a cold college professor, and her husband, an ecstatic painter, spend a summer away from the city, straining their rocky relationship. Languid look at the Gullah culture of the sea islands off the coast of South Carolina and Georgia where African folk-ways were maintained well stream hdfilme 4 transformers the 20th Century and was one of the last bastions of these mores in America. That horrible harp music continue reading was constantly repeated over and over again could be interpreted as poetic. Added to Watchlist.
Daughters Of The Dust - Möchten Sie sich anmelden?Filme wie Daughters of the Dust. Anmelden Konto anlegen. This special edition, designed to be a "year zero", gathering films and viewers in the great digital Piazza that is the world wide web. Die Besten Liebesfilme. Joseph Burton.
Nana Peazant Cora Lee Day , the group's year-old great-grandmother and the clan's closest link to its Yoruba roots, still practices ritual magic and grieves over the demise of that tradition.
Viola Peazant Cherly Lynn Bruce is a devout Baptist who has rejected Nana's spiritualism but who brings to her Christianity a similar fervency.
Haagar Kaycee Moore , who married into the family, disparages its African heritage as "hoodoo" and eagerly anticipates assimilation into America's middle class.
Yellow Mary Barbara-O , who has returned for the celebration, is the family pariah, shunned by the other women for being a prostitute.
The most volatile conflict is between Nana's granddaughter, Eula Alva Rogers , who is pregnant, and her husband, Eli Adisa Anderson , who believes the father of the child she is carrying is a white rapist.
Through a ritual conducted by Nana, Eli eventually realizes that he is the father of the unborn daughter who serves as the film's occasional offscreen narrator.
Because the characters and their stories are not defined in conventional film-making terms, they are not always easy to follow.
The stories, instead of being related in bite-size dramatic chunks, gradually emerge out of a broad weave in which the fabric of daily life, from food preparation to ritualized remembrance, is ultimately more significant than any of the psychological conflicts that surface.
With a running time of nearly two hours, "Daughters of the Dust" is a very languidly paced film that frequently stops in its tracks simply to contemplate the wild beauty of the Sea Island landscape.
Even though the heat, insects and threat of yellow fever made the islands inhospitable to white settlement, the movie still portrays that environment, drenched in sea mist and strewn with palms, as a semi-tropical paradise and the Peazants as a blessed tribe whose independence and harmony with nature partly offsets the scars of having been slaves.
Dash, who emerges as a strikingly original film maker. For all its harsh allusions to slavery and hardship, the film is an extended, wildly lyrical meditation on the power of African cultural iconography and the spiritual resilience of the generations of women who have been its custodians.
Dash and Mr. Jafa; released by Kino International. Running time: minutes. This film has no rating.
Nana Peazant. Simons Island , off the Georgia coast. Their dialogue is in Gullah creole. Narrated by the Unborn Child, the future daughter of Eli and Eula, whose voice is influenced by accounts of her ancestors, the film presents poetic visual images and circular narrative structures to represent the past, present and future for the Gullah, the majority of whom are about to embark for the mainland and a more modern, "civilized" way of life.
The old ways and African ancestral history are represented by community matriarch Nana Peazant, who practices African spiritual rituals.
Nana tells her family as she bids them to remember and honour their ancestors as they embark on their new journey, "We are two people in one body.
The last of the old and the first of the new. Contrasting cousins, Viola, a devout Christian, and Yellow Mary, a free spirit who has brought her lover, Trula, from the city, arrive at the island by boat from their homes on the mainland for a last dinner with their family.
Yellow Mary plans to leave for Nova Scotia after her visit. Snead, a mainland photographer, accompanies Viola and takes portraits of the islanders before they leave their way of life forever.
Intertwined with these narratives is the marital rift between Eli and his wife Eula, who is about to give birth after being raped by a white man on the mainland.
Eli struggles with the fact that the unborn child may not be his and his mother's pressure for him to maintain his connection to his ancestors.
The unborn child of Eli and Eula narrates the film tracing her the legacy before her birth. Several other family members' stories unfold between these narratives.
They include Haagar, a cousin who finds the old spiritual beliefs and provincialism of the island "backwards," and is impatient to leave for a more modern society with its educational and economic opportunities.
Her daughter Iona longs to be with her secret lover St. Julien Lastchild, a Cherokee Native American, a resident of the island.
Lastchild presents Iona with a letter confessing his devotion the day of iona's departure asking her to stay with him.
While the women prepare a traditional meal for the feast, which includes okra, yams and shellfish prepared at the beach, the men gather nearby in groups to talk and play games.
The children and teenagers play games, practice religious rites on the beach, and have a Bible-study session with Viola.
Yellow Mary and Eula bond as survivors of rape. Nana evokes the spirits of the family's ancestors who worked on the island's indigo plantations.
Nana combines the power of their ancestors with Viola's Bible as a symbol of the old and the new. Eula and Eli reveal the history and folklore of the slave uprising and mass suicide at Igbo Landing.
The Peazant family members make their final decisions to leave the island for a new beginning, or stay behind and maintain their way of life.
Yellow Mary chooses to stay on the island along with Eli and Eula. In tears, Iona jumps off of a departing boat as Lastchild comes for her on horseback.
Haagar is held back by another family member while calling for her daughter. Remaining family members watch as most of the Peazants finally depart.
Originally conceived in , Dash planned to make a short film with no dialogue as a visual account of a Gullah family's preparation to leave their Sea Island home to a new life in the North.
She was inspired by her father's Gullah family, who migrated to New York City in the early 20th century during the Great Migration of African Americans from the southern states.
She was initially rejected by Hollywood executives, as this was to be her first full-length film.
Dash said they thought it was "too different" as she thought their reaction was part of a systematic exclusion of black women from Hollywood.
With funding secured, Dash and Casting Director Len Hunt, cast a number of veterans of black independent cinema in various roles, as a tribute to the work they had done and the sacrifices they had made to work in independent films.
She also hired a mostly African-American crew. Considering she had cast principal actors who were union members. A number of non-union members were cast because of their familiarity with the Gullah Language.
Union technicians were also hired. For the sake of authenticity and poetry, the characters from the island speak in Gullah dialect.
Ronald Daise, author of Reminiscences of Sea Island Heritage , was the dialect coach for her actors, none of whom knew Gullah at the start of production.
I didn't want to tell a historical drama about African-American women in the same way that I had seen other dramas. I decided to work with a different type of narrative structure So I let the story unravel and reveal itself in a way in which an African Gullah would tell the story, because that's part of our tradition.
The story unfolds throughout this day-and-a-half in various vignettes. It unfolds and comes back. It's a different way of telling a story. It's totally different, new.
Director of photography Arthur Jafa began shooting on location at St. The sets, including cabins, the graveyard, and a figurative-sculpture dock at Igbo Landing, were constructed mostly using materials the Gullah would have had available at the time of the story.
The costumes feature the women in long indigo-dyed and bright white dresses. The majority of closeups in the film are on the women, and the majority of dialogue is spoken by women and girls.
Hugo changed track and scored a direct hit on Charleston, causing an historic amount of damage. Editing began in January , and it took nearly a year to complete the film.
The film opened in January to mostly critical acclaim. The Boston Globe called it "Mesmerizing The New York Times lauded the film's languid pace and "spellbinding visual beauty" while noting that its unconventional narrative structure made the characters in relation to the story at times difficult to follow.