Summary
Alile Sharon Larkin (born May 6, 1953) is an American film producer, writer and director. She is associated with the L.A. Rebellion (also known as the Los Angeles School of Black Filmmakers),[1][2][3] which is said to have "collectively imagined and created a Black cinema against the conventions of Hollywood and Blaxploitation film."[4] Larkin is considered to be part of the second wave (or generation) of these revolutionary black filmmakers, along with Julie Dash and Billy Woodberry.[5][6][7] Larkin also co-founded the Black Filmmakers Collective.[2]
Alile Sharon Larkin | |
|---|---|
| Born | Sharon Larkin May 6, 1953 Chicago, Illinois, U.S. |
| Alma mater | USC BA,[1][2] UCLA, MFA[1][2] |
| Occupation(s) | Film director, producer, screenwriter |
| Years active | 1979–present |
Background and education edit
Larkin was born in Chicago on May 6, 1953. She received a Bachelor of Arts degree in Humanities in the Creative Writing program at the University of Southern California, graduating in 1975.[8] Larkin was then enrolled as one of the original members of the Ethno-Communications program at UCLA, until it disbanded.[9] Larkin then registered at UCLA's prestigious film school in the Motion Picture/Television Program, graduating with a Master of Fine Arts degree in 1982. In 1991 Larkin graduated with a Master of Education degree from California State University in Los Angeles, and went on to become an educator for the next 25 years.[8]
Career edit
While at UCLA, Larkin directed two 16mm short films.[citation needed] Her first film The Kitchen (1975), tells the story of a Black woman's mental breakdown, and compares her life in a mental ward to that of someone in prison, looking at the pressures and discrimination she faced that brought about her mental undoing.[10] Her next film, Your Children Come Back to You (1979), explores the issue of the assimilation of African Americans into a larger community. The film confronts issues of economic and social inequality, presenting them from a child's point of view.[8] Your Children was followed by the film for which she is perhaps best known[citation needed], A Different Image, which she completed in 1982.[8] This film explores the complexities of a platonic relationship between a free-spirited young woman and the young man who is her best friend.[2] A retrospective of her works, including a documentary on the making of "A Different Image," were set to screen on Friday, December 2, 2011, as part of a major film series, "L.A. Rebellion: Creating a New Black Cinema," part of Pacific Standard Time: Art in L.A. 1945–1980.[3]
After graduating from UCLA, Larkin produced a series of projects, including the children's story, Dredlocks and the Three Bears (1991),[3] which has been called "an extremely playful and yet undeniably political" animated re-imagining of the story of Goldilocks with a Black female protagonist.[11] Her upcoming project is a children's music DVD called 'Tie Dye', which is currently in production.[8]
Larkin is also a published writer. Her article "Black Women Filmmakers Defining Ourselves: Feminism in Our Own Voice" was published in 1988 in E. Deidre Pribram's Female Spectators: Looking at film and television,[12] which was part of an informal 13-book series called "Questions for Feminism".[13][14] Her screenplay for A Different Image (1982) was published in 1991 in a book of collected works from six different independent filmmakers, called Screenplays of the African American Experience.[8][15]
Along with other members of the L.A. Rebellion, Larkin is the subject of an upcoming documentary from director Zeinabu Irene Davis called Spirits of Rebellion: Black Cinema at UCLA.[4]
Cinematic style and influence edit
Larkin often uses a non-linear narrative style in her films, and her cinematic style has been described as using "collage and abrupt editing, [which] evokes a self-reflexive form that disrupts the spectator's pleasurable and seamless identification with story and protagonist."[16] Larkin has been described as a filmmaker who has "greatly contributed to the advances of black women in the ongoing struggle for representation".[17] She is also considered to be among the most influential African American independent filmmakers, a group that has "committed to developing a film language to respectfully express cultural particularity and Black thought."[18]
Filmography edit
| Year | Title | Role(s) | Distributor | Screenings |
|---|---|---|---|---|
| 1975 | The Kitchen | Director, Writer, Producer, Editor | ||
| 1979 | Your Children Come Back to You | Director, Writer, Producer, Editor | Women Make Movies | 2011: L.A. Rebellion: Creating a New Black Cinema |
| 1982 | A Different Image | Director | Women Make Movies | 2011: L.A. Rebellion: Creating a New Black Cinema 2003: Los Angeles School Festival at UC Irvine 1982: Black Talkies on Parade Film Festival |
| 1984 | My Dream is to Marry an African Prince | Producer | ||
| 1986 | What Color is God? | Producer | ||
| 1987 | Miss Fluci Moses | Director | ||
| 1991 | Dreadlocks and the Three Bears | Director, Writer, Producer | 2011: L.A. Rebellion: Creating a New Black Cinema | |
| 1998 | Mz Medusa | Director | ||
| 2000 | The Blessing Way | Cast |
Awards and recognition edit
- 1982: 1st Prize, Black American Cinema Society Award for A Different Image[1]
References edit
- ^ a b c d "Alile Sharon Larkin". New York City: Women Make Movies. 2007. Retrieved November 14, 2011.
- ^ a b c d e Deane, Pamela S. (2011). "Alile Sharon Larkin entry". Film Directors Site.Com. Visible Ink Press. Retrieved November 14, 2011.
- ^ a b c Prime, Samuel B. "A Different Image (1982); Creating a Different Image: Portrait of Alile Sharon Larkin (1989); Dreadlocks and the Three Bears (1991); Your Children Come Back to You (1979)". Los Angeles: UCLA Film and Television Archives. Retrieved November 14, 2011.
- ^ a b Davis, Zeinabu Irene (2014). "Keeping the black in media production: one L.A. Rebellion filmmaker's notes". Cinema Journal. 53 (4): 157–161. doi:10.1353/cj.2014.0054.
- ^ Masilela, Ntongela (1993). "The los angeles school of black filmmakers". Black American Cinema.
- ^ Massood, P. J. (1999). "An Aesthetic Appropriate to Conditions: Killer of Sheep, (Neo)Realism, and the Documentary Impulse". Wide Angle. 21 (4): 20–41. doi:10.1353/wan.2004.0004. S2CID 167498816.
- ^ Ogunleye, Foluke (2007). "Transcending the Dust: African American Filmmakers Preserving the Glimpse of the Eternal". College Literature. 34: 156–173. doi:10.1353/lit.2007.0008.
- ^ a b c d e f "Alile Sharon Larkin | UCLA Film & Television Archive". www.cinema.ucla.edu. Retrieved October 5, 2015.
- ^ Drake, Olivia Marie. "'The Wig Is Off': TheRole of the UCLA Ethno-Communications Program in the Formation of a Black Cinema Aesthetic." Howard University (2014). Print.
- ^ "The Kitchen | UCLA Film & Television Archive". www.cinema.ucla.edu. Retrieved October 5, 2015.
- ^ "Dreadlocks and the Three Bears | UCLA Film & Television Archive". www.cinema.ucla.edu. Retrieved October 5, 2015.
- ^ Larkin, Alile Sharon (1988). Pribram, E. Deidre (ed.). "Black Women Filmmakers Defining Ourselves: Feminism in Our Own Voice". Female Spectators: Looking at Film and Television. London.
- ^ "Questions for feminism series by Rosemary Pringle". www.goodreads.com. Retrieved October 5, 2015.
- ^ Pribram, E. Deidre (January 1, 1988). Female spectators: looking at film and television. Verso. ISBN 9780860912040.
- ^ Klotman, Phyllis Rauch (January 1, 1991). Screenplays of the African American Experience. Indiana University Press. ISBN 0253206332.
- ^ Reid, Mark A (2004). "Haile Gerima 'Sacred Shield of Culture'". Contemporary American Independent Film. Routledge.
- ^ Heyde, Paul (2006). "Black Women Filmmakers Forum: An Alternative Aesthetic and Vision". Black Camera.
- ^ Marlo, D. David (2011). ""Let It Go Black": Desire and the Erotic Subject in the Films of Bill Gunn". Black Camera.
External links edit
- Alile Sharon Larkin at IMDb