the killing floor bill duke

Eventually more opportunities came Duke’s way, and today he looks back at his many decades of directing and acting with a grateful eye. The Killing Floor, directed by Bill Duke, is now available virtually from Film Movement. Published. No one is free until we all are free. Photo: The Killing Floor, directed by Bill Duke, has recently been re-released virtually thanks to Film Movement. Image from The Killing Floor, courtesy Film Movement Film Review: The Killing Floor Directed by Bill Duke. Click here for more information. Help us support art house cinemas by renting these new, recent and re-released films. He believes and indeed acts on the very doubts and fears that Custer has to push away in his role as an organizer—primarily that the white union leaders are only encouraging solidarity with the black workers for their own good, an exceptionally justified position backed up even further by events that occur during the course of the riots. The film’s road to production is a story of its own, almost equally rich with implication. You really want it to be not only good; you want it to be as perfect as you can make it. Be warned there are a whole lot of slurs thrown around in this one. Mobile site. To a certain extent, it deals with what we’re facing now — unemployment, it deals with unions, it deals with racial topics. He currently has a recurring role on The CW’s Black Lightning. “Faced with criticism, PBS loosened its restrictions,” and so The Killing Floor was financed piecemeal by small investments from numerous labor organizations, among other contributions. In an interview with Time Out last year, Rassbach detailed the research that prompted the project: I had been hired at the public television station in Boston, WGBH, to work on the first seasons of Nova (1974-), and I received support from the National Endowment for the Humanities to develop a public television series on the history of the American labor movement. The movie met with great acclaim and stands as one of the strongest bullet points on Duke’s impressive résumé — a résumé that also includes Sister Act 2: Back in the Habit, America’s Dream, Hoodlum and … This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. His roles have included everything from Leon James in American Gigolo to Sgt. Not just blank mercenary workers, it illustrates exactly why they might be skeptical of the union and exactly why they’d cross lines. Upon his arrival in Chicago he takes a job mopping the floors of a slaughterhouse and becomes determined to work his way up to butcher—something the mostly white union organizers at the plant quickly ascertain, and just as quickly utilize to their own advantage. Emphatically attuned to process and place, depicts the drive as an unending quest to achieve minor and perhaps even unjustified shifts in the worker’s individual belief structures—with pro- and anti-union forces depicted as being in constant debate via dialogue scenes that quite realistically cross from the workfloor to the locker room and then to barrooms or dinner tables before finally starting anew the next day (the most oft-cited pull quote regarding the film, line dubbing it the “[most] clear-eyed account of union organizing on film,” which if anything just reminds us how rarely that subject is depicted within the commercial American. I’ve enjoyed many of these films because they’ve provided me with a variety of portrayals and images of black men…. Photo courtesy of Film Movement / Provided by Foundry Comm with permission. Glad it has been restored. “The project has been in the planning and funding stages for more than six years, but was delayed until the looms in the Boott Cotton Mills Museum were operational. Important historical drama. Backs turned even on the men…, Of course the nature of American television censorship means that while Duke’s film cannot realistically depict workplace injuries, violence, or sexual relations of any kind, it is nonetheless able to depict utterly grotesque racism and hate speech without much redaction. No wonder I wasn’t aware of this film until recently, it’s the kind of film they don’t want us to know we have made in the past. In 2020, Film Movement has decided to showcase the modern classic in its virtual cinema, and Duke, an accomplished director, couldn’t be happier that a whole new generation of audience members — many of them impacted and influenced by the current protests and news stories — will experience his influential movie and this historic tale.

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