Intermission gif history9/17/2023 ![]() ![]() Strung out over a thin khaki line, the British Army is about to be battered – and this small but richly drawn platoon is at the sharpest end of it. But ‘The Duchess’ director Saul Dibbs’s adaptation – unlike the 1930 James Whale version – uses nimble camerawork and imaginative framing to expand the canvas and deliver a powerful human drama of doomed men in the subterranean world of the trenches. A long-time interviewer of Great War veterans himself and the host of The Old Front Line podcast, he brings a unique perspective on their historical strengths – and weaknesses.įrequently revived as a stage play, RC Sherriff’s claustrophobic and nail-gnawingly tense snapshot of a British dugout on the eve of the German Spring Offensive of 1918 isn’t immediately cinematic. To rank these films is a tricky task, so we enlisted the help of military historian, author and podcaster Paul Reed to cast an expert eye over them. Maybe because they’ve wrestled with complex themes of sacrifice, trauma, justice, social hierarchy, nationhood and the nature of comradeship, and eschewed simpler heroics, films like Paths of Glory, All Quiet on the Western Front and La Grande Illusion have only grown in stature over the years.Īnd the war’s enduring place in the public consciousness has seen a new wave of Great War films, with 1917, They Shall Not Grow Old and Journey’s End, and Germany producing its biggest contribution to the canon with Netflix’s new take on All Quiet on the Western Front. In addition to his creative work in art and media, Bayeté helped launch and continues to work with the Kings Against Violence Initiative (KAVI), a hospital and school based violence prevention organization in Brooklyn NY that partners with Kings County Hospital. He is also a faculty member at New York University's Tisch School of the Arts and board member of Project Implicit at Harvard.World War I has inspired not just some of the greatest war films, but a few of the greatest films ever made. His work has been published in The New York Times, The Guardian, National Geographic Learning, PBS, Facing History & Ourselves, and the Philadelphia Inquirer and Charlotte Observer, in addition to books such as Dis:Integration: The Splintering of Black America (2010) and Posing Beauty: African American Images from the 1890s to the Present (2009). He has created public art projects with organizations such as the Lincoln Center, Montgomery Museum of Fine Art, the Jerome Foundation, Paris Photo, Dysturb, The Laundromat Project, the NYC Parks Department, San Francisco District Attorney’s Office, the Hartford YMCA, The California Judicial Council and Columbia Law School. His collaborative projects "Along The Way" and " Question Bridge: Black Males" have shown at the 20 Sundance Film Festival, respectively. ![]() His work has been featured at Lincoln Center, the Sheffield Doc Fest, the March on Washington Film Festival and the L.A. ![]() Department of state in South Africa, and America House in (Ukraine), among others. He has exhibited internationally with Paris Photo (France), the Goethe Institute (Ghana), Foto Museum (Belgium), the Lianzhou Foto Festival (China), with the U.S. His work is in the collections of The Smithsonian Institution, the Oakland Museum of California, the Birmingham Museum of Art, the Schomburg Center for Research in Black Culture, and The Brooklyn Museum. He is Columbia Law School’s inaugural Artist-In-Residence, a Presidential Leadership Scholar, a TED Resident, a Creative Capital Awardee, an Art For Justice Fund Fellow, a BPMPlus Grantee, a CatchLight Fellow, and a POV NY Times embedded mediamaker. Bayeté Ross Smith is an interdisciplinary artist, photographer, filmmaker and education worker, working at the intersection of photography, film & video, visual journalism, and new media. ![]()
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