#blair mcclendon

[sesiondemadrugada]

Aftersun (Charlotte Wells, 2022).

[biglisbonnews]

Love Songs: “You Don’t Know What Love Is” “It speaks, in spite of itself, to love’s inexplicable optimism.” https://www.theparisreview.org/blog/2023/02/17/love-songs-you-dont-know-what-love-is/

[reel-drone]

If Joshua Picked the Oscars

Best Picture of The Year : Tár

For notable

Direction: Todd Field

Writing: Todd Field

Performance(s): Cate Blanchett, Nina Hoss, & Noémie Merlant

Cinematography: Florian Hoffmeister

Editing: Monika Willi

Best Director

WINNER: Moneyboys by C. B. Yi

RUNNERS-UP:

Charlotte Wells for Aftersun

Kristoffer Borgli for Sick of Myself

Jerzy Skolimowski for EO 

Luca Guadagnino for Bones and All

Best Actor

WINNER: Eden Dambrine in Close

RUNNER UPs

Colin Farrell in After Yang

Cosmo Jarvis in It Is In Us All

Kai Ko in Moneyboys

Paul Mescal in Aftersun

Best Actress

WINNER: Kristine Thorpe in Sick of Myself

RUNNERS-UP

Kayije Kagame in Saint Omer

Guslagie Malanda in Saint Omer

Françoise Lebrun in Vortex

Mia Goth in Pearl

Best Original Screenplay

WINNER: Charlotte Wells for Aftersun

RUNNERS-UP:

Kristoffer Borgli for Sick of Myself

Saul Williams for Neptune Frost

C.B. Yi for Moneyboys

Laura Paredes & Laura Citarella for Trenque Lauquen

Best Adapted Screenplay

WINNER: David Kajganich for Bones and All

RUNNERS-UP:

Jerzy Skolimowski and Ewa Piaskowska for EO

Andrew Litvack, Léa Mysius, and Claire Denis for Stars at Noon

Kogonada for After Yang

Guillermo del Toro’s Pinocchio

Best Score

WINNER: Athena by Benoit Heitz (GENER8ION)

Best Song of 2022 (Featured in a Movie) 

WINNER: Stars at Noon by Tindersticks

Best Editing of 2022

WINNER: After Yang (dir. Kogonada)

RUNNER UPS

Bret Morgen for Moonage Daydream

Blair McClendon for Aftersun

Paul Rogers for Everything Everywhere All At Once

Agnieszka Glińska for EO

Best Cinematography of 2022

WINNER (TIE): Athena (by Matias Boucard) and EO (by Michal Dymek)

RUNNERS-UP:

Joyland (by Joe Saade)

Moneyboys (by Jean-Louis Uialard)

Close  (By Frank van den Eeden)

Neptune Frost (by Anisia Uzeyman)

Best Sound of 2022

WINNER: Kyle Edward Ball for Skinamarink 

Best Short Live Action Film

WINNER: Tremor by Rudolf Fitzgerald-Leonard

RUNNER UP: Starfuckers by Antonio Marziale

Best Short Documentary Film 

WINNER: Will You Look At Me? by Huang Shuli

Best Actor in a Supporting Role

WINNER: Justin H. Min (in After Yang)

RUNNERS-UP:

Bai Yufan (in Moneyboys)

Sami Slimane (in Athena) 

Gustav De Waele (in Close)

Pablo Schils in Tori & Lokita

Best Actress in a Supporting Role 

WINNER: Alina Khan (in Joyland) 

RUNNERS-UP:

Hong Chau (in The Whale)

Charlbi Dean Kriek (in Triangle of Sadness)

Dolly De Leon (in Triangle of Sadness)

Stephanie Hsu in Everything Everywhere All At Once

Best Documentary of The Year

WINNER: Moonage Daydream

RUNNERS-UP

All The Beauty and the Bloodshed

The Fire Within

Best Costume and Production Design

WINNER: Neptune Frost

Best Horror Film

WINNER: Terrifier 2

RUNNERS-UP

Skinamarink

Pearl

You Won’t Be Alone

The Outwaters

[edsonlnoe]

Premios ⬤ 22

Película AFTERSUN Runner-Up: Nope Director Charlotte Wells | AFTERSUN Runner-Up: Jordan Peele | Nope Actriz Renate Reinsve | VERDENS VERSTE MENNESKE Runner-Up: Frankie Corio | Aftersun Actor Paul Mescal | AFTERSUN Runner-Up: Ben Whishaw | Surge Actriz de Reparto Stephanie Hsu | EVERYTHING EVERYWHERE ALL AT ONCE Runner-Up: Ximena Lamadrid | Bardo, falsa crónica de unas cuantas verdades Actor de Reparto Anders Danielsen Lie | VERDENS VERSTE MENNESKE Runner-Up: Ke Huy Quan | Everything Everywhere All At Once Guión Original Jordan Peele | NOPE Runner-Up: Charlotte Wells | Aftersun Guión Adaptado Joel Kim Booster | FIRE ISLAND Runner-Up: Peter Craig, Matt Reeves | The Batman Edición Blair McClendon | AFTERSUN Runner-Up: Nicholas Monsour | Nope Fotografía Darius Khondji | BARDO, FALSA CRÓNICA DE UNAS CUANTAS VERDADES Runner-Up: Hoyte Van Hoytema | Nope Diseño de Producción Ruth De Jong, Samantha Englender, Leandre Lagrange | NOPE Runner-Up: Eugenio Caballero, Roberto Bonelli, Carlos Y. Jacques | Bardo, falsa crónica de unas cuantas verdades Diseño de Vestuario Ruth E. Carter | BLACK PANTHER: WAKANDA FOREVER Runner-Up: Jacqueline Durran | Spencer Make-Up & Hairstyling Camille Friend, Joel Harlow | BLACK PANTHER: WAKANDA FOREVER Runner-Up: Adam Johansen, Matteo Silvi | Thor: Love and Thunder Efectos Visuales / Especiales Scott R. Fisher, Jeremy Robert, Guillaume Rocheron, Sreejith Venugopalan | NOPE Runner-Up: Guillaume Rocheron, Olaf Wendt | Bardo, falsa crónica de unas cuantas verdades Edición de Sonido Nicolas Becker, Martín Hernández | BARDO, FALSA CRÓNICA DE UNAS CUANTAS VERDADES Runner-Up: Johnnie Burn | Nope Mezcla de Sonido José Antonio García | NOPE Runner-Up: Santiago Núñez, Frank A. Montaño, Jon Taylor, Ken Yasumoto | Bardo, falsa crónica de unas cuantas verdades Score Jonny Greenwood | SPENCER Runner-Up: Michael Abels | Nope Soundtrack AFTERSUN Runner-Up: Black Panther: Wakanda Forever Canción “This Is A Life” — Son Lux, Mitski, David Byrne | EVERYTHING EVERYWHERE ALL AT ONCE Runner-Up: “Con la Brisa” — Foudeqush, Ludwin Göransson | Black Panther: Wakanda Forever Diseño de Créditos Aaron Becker | NOPE Runner-Up: Duncan Elms | The Batman Trailer Marvel Enterteinment | BLACK PANTHER: WAKANDA FOREVER Runner-Up: Strand Releasing | Mogul Mowgli Poster LA | NOPE Runner-Up: P+A | Aftersun Poster en Cortometraje BIEN PARECIDAS Runner-Up: Cruise Actuación en Cortometraje Anna Dzieduszycka | SUKIENKA Runner-Up: Joanie Martel | Lune Realización en Cortometraje Emita Frigato, Rachele Meliadò | Diseño de Producción | LE PUPILLE Runner-Up: Nadège Feyrit | Diseño de Sonido | La Neige Incertaine Guión en Cortometraje Marion Boisrond, Ada Hernaez, Marie-Liesse Coumau, Gwendoline Legendre, Romane Tisseau | LA NEIGE INCERTAINE Runner-Up: Oscar Sarmiento Schultz | Parece que va a nevar Dirección en Cortometraje Daniel Soares | O QUE RESTA Runner-Up: Alice Rohrwacher | Le Pupille Cortometraje de Ficción O QUE RESTA Runner-Up: Ala Kachuu Cortometraje Documental ACUEDUCTOS Runner-Up: Fuego en el cielo Cortometraje Animado LA NEIGE INCERTAINE Runner-Up: Last Summer Película Animada TURNING RED Runner-Up: Flugt Off-Screen Performance Chris Evans | LIGHTYEAR Runner-Up: Rosalie Chiang | Turning Red Non-Anglo Performance Renate Reinsve | VERDENS VERSTE MENNESKE Runner-Up: Anders Danielsen Lie | Verdens Verste Menneske Performance Mexicano Daniel Giménez Cacho | BARDO, FALSA CRÓNICA DE UNAS CUANTAS VERDADES Runner-Up: Karla Souza | La Caída Featured Actor Luis Couturier | BARDO, FALSA CRÓNICA DE UNAS CUANTAS VERDADES Runner-Up: Scoot McNairy | C’mon C’mon Stunts / Choreography EVERYTHING EVERYWHERE ALL AT ONCE Runner-Up: Prey Breakthrough Actriz Frankie Corio | AFTERSUN Runner-Up: Stephanie Hsu | Everything Everywhere All At Once Breakthrough Actor Brandon Perea | NOPE Runner-Up: Daryl McCormack | Good Luck to You, Leo Grande Rising Filmmaker Charlotte Wells | AFTERSUN Runner-Up: Stephen Karam | The Humans Ensamble Daniel Kaluuya, Keke Palmer, Brandon Perea, Steven Yeun, Michael Wincott, Jacob Kim, Terry Notary, y Keith David | NOPE Runner-Up: Michelle Yeoh, Ke Huy Quan, Stephanie Hsu, Jamie Lee Curtis, James Hong, Tallie Medel, Jenny Slate, y Harry Shum Jr. | Everything Everywhere All At Once Escena This is our last dance | AFTERSUN Runner-Up: Jean Jacket | Nope Wide Release NOPE Runner-Up: The Batman Limited Release AFTERSUN Runner-Up: C’mon C’mon Non-Theatrical Release FIRE ISLAND Runner-Up: Prey Documental FLUGT Runner-Up: Ermitaños Película Iberoamericana MEMORIA Runner-Up: Los Reyes del Mundo Película Mexicana BARDO, FALSA CRÓNICA DE UNAS CUANTAS VERDADES Runner-Up: Nudo Mixteco

[genevieveetguy]

Aftersun, Charlotte Wells (2022)

[eelhound]

"How democratic can a nation be, one wonders, if tens of millions of people feel compelled to pour into the streets to insist that the government should not murder its own citizens?

'Power,' [James] Baldwin wrote, 'is the arena in which racism is played out.' So long as it is thought a question of hatred, of a heart’s interiors, then the black thinker who demands freedom will be received — by friends and enemies alike — as speaking of an emotional problem. Equality itself is relegated to the realm of feeling, and for many, that is more comfortable."

- Blair McClendon, from "To James Baldwin, the Struggle for Black Liberation Was a Struggle for Democracy." Jacobin, 19 June 2021.

[whentheleveebreaks1971]

“It is a shrewd method, relying on certain already existing representations to construct an ideal one. It is not so much a process of deducing the nature of an object from its dancing shadow as trying to make them co-constitutive, moving the light here and there until the silhouette and the thing itself can both be framed in a pleasing manner and one cannot be thought of without the other. The Lost Cause needed Gone With the Wind even as it provided the imaginative space in which such a production could be conceived. When Clark Gable says they’re watching the old south disappear, the lie is more brutal and more seductive for being put in a charming man’s mouth in a frame run riot with all the red Technicolor could muster.”

blair mcclendon, “pictures at a restoration: on pete souza’s obama,” n+1

[vivian-bell]

The internal conflict between Lorraine the Village radical and Lorraine the daughter of the Chicago bourgeoisie would become a familiar and painful one. She believed that homophobia was a “philosophically active anti-feminist dogma.” She subscribed to The Ladder, the “first national lesbian publication,” and when it ran a piece about “how lesbians should dress and act” she dashed off a characteristically emphatic letter to the editor. As a child of the Black élite, she wrote, she had been taught how to dress and act for the “dominant social group.” It had not changed which hotels would deny her entrance, or stopped the cops from sneering at her mother when a brick shattered her window. Appeasement, Hansberry believed, wouldn’t get you very far. Her demand was freedom, nothing less.

The Many Visions of Lorraine Hansberry by Blair McClendon

[probablyasocialecologist]

The infamous photograph from Little Rock of segregationists holding aloft signs that read “Race Mixing Is Communism” is routinely deployed as an indicator of the sheer lunacy bred by the melange of Cold War hysteria and white racism. For much of the twentieth century it was also true. Communists assisted in the defense of the Scottsboro Boys, and a Communist wrote the anti-lynching song Strange Fruit. In Defying Dixie: The Radical Roots of Civil Rights, historian Glenda Elizabeth Gilmore quotes a representative of the American Federation of Labor who argued that racial equality “created a state of mind … which was hostile to the workers,” at a time when a Communist union had begun organizing Black and white textile workers. In 1943, in the wake of riots sparked by a police officer shooting a Black man, Harlem elected Ben Davis to replace Adam Clayton Powell Jr. in the City Council. Davis was the candidate of the Communist Party and would hold the seat until he was prosecuted under the Smith Act. Once convicted, he was defeated by a man who had been endorsed by both the Republicans and the Democrats. The careful delineation of what Bayard Rustin termed the “classical stage” of the civil rights movement allowed the creation of a Black politics that calls upon this legacy without having to admit the uncomfortable truth that the Black struggle has often been inextricable from the leftist one. “Communism,” Ben Davis once said, “is twentieth-century Abolitionism.” Here we are, in a new century, and that word is ringing out again.

Blair McClendon, Black Politics After George Floyd

[sesiondemadrugada]

Aftersun (Charlotte Wells, 2022).

[socalandia]

Watch- GANG TAPES- 11/20/19

If you like the Blair witch project then you like Cannibal Holocaust and you will like "GANG TAPES-"!

[watch on YouTube.]

[fewbat]

Hello! Thank you for stopping by. Two years ago I established The Daveys (they may have been The Davies back then, I don’t know), an end-of-year fake movie awards body, just because I got bored one day and was like hey, doing something like that might be fun. Last year I switched to a non-competitive format because I wasn’t really feeling it, but this year I said you know what, let’s get gifting again, and so here we are.

As always there are films that I didn’t get around to seeing, mostly due to availability, and as such they don’t feature here but possibly would’ve had I been able to see them. Likewise, there are many films that almost made their way on here but ultimately didn’t. The point is - these are all silly, really. Don’t take this seriously.

This year also sees the introduction of a special celebratory award, the Davey Award for “Wow I hadn’t seen you on screen for a while and seeing you again made me feel kind of emotional.” This year’s inaugural recipients are:

For his role in The Fabelmans, David Lynch. For her role in The Power of the Doctor, Janet Fielding. I’m sure this is the most important thing they will ever win in their lives. Congrats to them both.

A reminder: There is one winner from each category, except for the acting categories. There are two winners from those. There is also a runner up for each single-winner category. Anyway.

And now…(in alphabetical order based on movie title within each respective category)

The nominees are…

Actor (Supporting):

Paul Mescal as Calum Paterson - Aftersun

Sigourney Weaver as Kiri te Suli Kìreysì'ite - Avatar: The Way of Water

Stephen Lang as Recombinant Colonel Miles Quaritch - Avatar: The Way of Water

Sophie Okonedo as Ethelfritha Rose Splinter of Devon - Catherine Called Birdy

Paul Dano as Burt Fabelman - The Fabelmans

Michelle Williams as Mitzi Schildkraut-Fabelman - The Fabelmans

‘Danger’ Ehren as himself - Jackass Forever

Isabella Rossellini as Nana Connie - Marcel the Shell with Shoes On

Greta Gerwig as Babette Gladney - White Noise

Don Cheadle as Prof. Murray Siskind - White Noise

Animated Feature:

The Bob’s Burgers Movie

Mad God

Marcel the Shell with Shoes On

Turning Red

Wendell & Wild

Production Design:

Dylan Cole, Ben Proctor - Avatar: The Way of Water

Catherine Martin, Karen Murphy - Elvis

Rick Carter - The Fabelmans

Craig Lathrop - The Northman

Jess Gonchor - White Noise

Costume Design:

Julian Day - Catherine Called Birdy

Jenny Beavan - Mrs. Harris Goes to Paris

Alex Bovaird and Leslie Sungail - Nope

Linda Muir and Louise Cassettari - The Northman

Ann Roth - White Noise

Screenplay (Original):

Charlotte Wells - Aftersun

Terence Davies - Benediction

Steven Spielberg & Tony Kushner - The Fabelmans

Jordan Peele- Nope

Screenplay by Julia Cho and Domee Shi, Story by Julia Cho, Domee Shi and Sarah Streicher - Turning Red

Screenplay (Adapted):

Kogonada - After Yang (based on the short story “Saying Goodbye to Yang” by Alexander Weinstein).

Screenplay by James Cameron, Rick Jaffa and Amanda Silver, Story by Cameron, Jaffa, Silver, Josh Friedman and Shane Salerno - Avatar: The Way of Water (based on characters created by James Cameron).

Lena Dunham - Catherine Called Birdy (based on the novel of the same name by Karen Cushman).

Chris Chibnall - The Power of the Doctor (based on characters created by various creators).

Noah Baumbach - White Noise (based on the novel of the same name by Don DeLillo)

VFX:

Avatar: The Way of Water

Crimes of the Future

Nope

Top Gun: Maverick

White Noise

Ensemble:

Avatar: The Way of Water

The Fabelmans

Jackass Forever

Nope

The Power of the Doctor

White Noise

Original Score:

Aska Matsumiya and Ryuichi Sakamoto - After Yang

Trent Reznor & Atticus Ross - Bones and All

John Williams - The Fabelmans

Tindersticks - Stars at Noon

Danny Elfman - White Noise

Editing:

Blair McClendon - Aftersun

Pietro Scalia, Doug Brandt, and Calvin Wimmer - Ambulance

Matt Villa and Jonathan Redmond - Elvis

Michael Kahn and Sarah Broshar - The Fabelmans

Matthew Hannam - White Noise

Cinematography:

Gregory Oke - Aftersun

Roberto de Angelis - Ambulance

Janusz Kamiński - The Fabelmans

Hoyte van Hoytema - Nope

Lol Crawley - White Noise

Actor (Lead):

Frankie Corio as Sophie - Aftersun

Jack Lowden as Young Siegfried Sassoon - Benediction

Bella Ramsey as Lady Catherine (Birdy) - Catherine Called Birdy

Léa Seydoux as Caprice - Crimes of the Future

Austin Butler as Elvis Presley - Elvis

Gabriel LaBelle as Sammy Fabelman - The Fabelmans

Daniel Kaluuya as Otis "OJ" Haywood Jr. - Nope

Keke Palmer as Emerald "Em" Haywood - Nope

Margaret Qualley as Trish Johnson - Stars at Noon

Adam Driver as Prof. Jack Gladney - White Noise

Director:

Charlotte Wells - Aftersun

James Cameron - Avatar: The Way of Water

Steven Spielberg - The Fabelmans

Jordan Peele - Nope

Noah Baumbach - White Noise

Picture:

Aftersun

Avatar: The Way of Water

The Banshees of Inisherin

Benediction

Elvis

The Fabelmans

Jackass Forever

Nope

Top Gun Maverick

White Noise

The winners will be announced in the near future

[awardseasonblog]

I premi assegnati fino a questo momento dalle Associazioni dei critici americani (Film Critics Awards) hanno sulla carta ribaltato le previsioni del mese di novembre per la categoria #Migliormontaggio con la risalita di Everything Everywhere All At Once che ha conquistato un numero considerevole di riconoscimenti per il #BestEditing. Di conseguenza la leadership di Top Gun: Maverick in questa categoria è ora a rischio. Al di là però del potenziale vincitore vediamo come potrebbe comporsi la cinquina di quest'anno sulla base soprattutto delle nominations ai premi chiave, in attesa delle candidature ai premi di settore (Eddie Awards) che spesso anticipano i verdetti per la categoria Miglior montaggio. In siffatto contesto tra i potenziali favoriti per la nomination agli Oscar 2023 per il Miglior montaggio si confermano in pole position: 1. #EverythingEverywhereAllAtOnce (Paul Rogers) -WINNERS:(9)LVFCS, BOFCA, UFCA, IFJA, StLFCA, PFCS, OAFFC, LFCC, CFCA -NOMINATIONS (13) (premi chiave: Critics Choice Award, HCA Film Award, Satellite Award) 2.#TopGunMaverick (Eddie Hamilton) -WINNERS (3) -NOMINATIONS (12) (premi chiave: Critics Choice Award, HCA Film Award, Satellite Award) 3.#Elvis (Jonathan Redmond e Matt Villa) -WINNERS (1): AACTA Award -NOMINATIONS (10) (premi chiave: Critics Choice Award, Satellite Award) 4.#TAR (Monika Willi) -WINNERS: -- -NOMINATIONS (8) (premi chiave: Critics Choice Award) 5.#Babylon (Tom Cross) -WINNERS: -- -NOMINATIONS (5) (premi chiave: Critics Choice Award) 6. #Ladonnadelmistero (Kim sang-bum) -WINNERS: BSFC -NOMINATIONS (5) (premi chiave: HCA Film Award) 7. #AvatarTheWayofWater (David Brenner, James Cameron, John Refoua, Stephen E. Rivkin e Ian Silverstein) -WINNERS: — -NOMINATIONS (1): Critics Choice Award 8. #Aftersun (Blair McClendon) -WINNERS (3): BIFA, LAFCA, BSFC -NOMINATIONS (3) 9. #RRR (A. Sreeker Prasad) -WINNERS: — -NOMINATIONS (2) (premi chiave: HCA Film Award) 10. #TheFabelmans (Sarah Broshar e Michael Kahn) -WINNERS: — -NOMINATIONS (2) (premi chiave: Satellite Award) #AwardsSeason #OscarsRace #Oscars2023 #OscarPredictions #StagionedeiPremi #Movies #Awards #PrevisioniOscar #PronosticiOscar https://www.instagram.com/p/CmuFvmSscvk/?igshid=NGJjMDIxMWI=

[genevieveetguy]

The Assistant, Kitty Green (2019)

[eelhound]

"Consent implies choice — the unspoken agreement is that black people have none. To move from that position implies a revolution. Here, [James] Baldwin’s formulation works backwards, too. If you want to change habits of thought, you will have to change those of power.

When one arrives at this juncture, it is common to fall back on Frederick Douglass’ dictum that 'power concedes nothing without a demand.' This is frequently interpreted as the natural role of petitions and protest and even prayer. Baldwin took this a step further, arguing, 'For power truly to feel itself menaced, it must somehow sense itself in the presence of another power — or, more accurately, an energy — which it has not known how to define and therefore does not really know how to control.' It is not as succinct as Douglass and takes on a more revolutionary hue. Counter-power is more than dissent; it is provocation and confrontation...

After the shock of the fall of Dien Bien Phu during the French empire’s failed attempt to hold onto its colonies in Southeast Asia, Baldwin noted a shift in the streets of Paris. Algerians were not belligerents in the war,

and yet the attitude of the police, which had always been menacing, began to be yet more snide and vindictive. This puzzled me at first, but shouldn’t have. This is the way people react to the loss of empire — for the loss of an empire also implies a radical revision of the individual identity — and I was to see this over and over again, not only in France. The Arabs were not a part of Indo-China, but they were part of an empire visibly and swiftly crumbling, and part of a history which was achieving, in the most literal and frightening sense, its dénouement . . . and the French authority to rule over them was being more hotly contested with every hour. The challenged authority, unable to justify itself and not dreaming indeed of even attempting to do so, simply increased in force.

This pattern, where authority is challenge and responds with vindictive force, remains familiar. Those expressing consternation at the police response to last summer’s protests in full view of the international press would have done well to read the later, less patriotic Baldwin. Racist exclusion prods the realm of feeling, but not in order to produce hysterical minorities. The legal fictions that this exclusion rests on mutate over time until they become social ones as well, and these stories are difficult for their tellers to relinquish. Rather than engage in such an emotionally draining process, it is easier to maintain these misapprehensions, and to do so by force if necessary.

The Algerian Revolution should have made plain for the French what the preceding century of colonization had not. Yet, Baldwin noted, even one of the premier French writers, Albert Camus, could not comprehend what was happening. Instead, 'European humanism appeared to expire at the European gates: so that Camus, who was dedicated to liberty, in the case of Europeans, could only speak of justice in the case of Algeria. And yet, he must have surely known, must have seen with his own eyes, some of the results of justice in Algeria.'

It was an impossible position, but that is not as rare as it might sound. The same dislocation occurs in the reception of black struggles in the United States. People demand freedom to, say, breathe or find housing or walk down the street, and their lack is perceived as a problem of justice. Legislative and structural gestures to equality are necessary, but they are not nearly sufficient to the project of leading a democratic life.

Baldwin goes further on the attack: 'There was no way for [Camus] not to have known that Algeria was French only insofar as French power had decreed it to be French. . . . It is power, not justice, which keeps rearranging the map, and the Algerians were not fighting the French for justice, [but] for the power to determine their own destinies.' The increasing militancy of the black protest movement over the last decade suggests a broader understanding that 'political freedom is a matter of power and has nothing to do with morality.'"

- Blair McClendon, from "To James Baldwin, the Struggle for Black Liberation Was a Struggle for Democracy." Jacobin, 19 June 2021.