By: Ann Hornaday - Washington Post
At the Sundance Film Festival, Howard University graduate Bradford Young won the dramatic-feature cinematography award for his work on the films “Ain’t Them Bodies Saints” and “Mother of George” — his second time accepting the honor, having won in 2011 for the coming-of-age drama “Pariah.” The Sundance recognition reinforces what many in the industry have known for a few years now: Howard University, best known for its law and medical schools, has become an incubator for people whose work with lighting, lenses, camera movement, film stocks and visual textures has profoundly influenced contemporary cinematic grammar.
“The interesting thing about it is that there is no formal cinematography department,” filmmaker Ava DuVernay says. “It’s jaw-dropping that you’ve had so many come out [of Howard] with such distinct styles.”
The floating-camera dolly shot and super-saturated color palette that are trademarks of Spike Lee’s work are the best known among several innovations that Howard-trained cinematographers have contributed to the films they’ve worked on. Early in his career, Lee developed these techniques in close collaboration with a Howard graduate, Ernest Dickerson.
DuVernay, who enlisted Young to shoot her features “I Will Follow” and “Middle of Nowhere,” notes that Howard-trained cinematographers emerge not just with practical knowledge of photochemistry and camera mechanics but an understanding that African American culture “is political, and what we do is important and the way that we see ourselves and the way we’re seen start with the person behind the camera.”
The fact that cinematographers are image-makers both in the cinematic and sociological sense has never been lost on the teachers or students at Howard, which formed its radio, television and film department in the early 1970s and began offering an MFA in film in 1983.
Howard is the only historically black college with a graduate film program; the country’s best-known film departments are at New York University, the University of Southern California, the American Film Institute and UCLA, where in the 1970s and 1980s a group of African American filmmakers formed the “L.A. Rebellion.”
It was out of that revolutionary cadre in 1975 that filmmaker Haile Gerima arrived at Howard, where he has since taught writing and directing, and guided film to becoming a force of substance and bold expression.
“The whole philosophical idea of the program is leaving their destiny to them,” Gerima says. “We try to prepare them and keep talking about the disconnects, especially in motion pictures and on top of that being African Americans, so that when they go out into the world, at least they won’t shortchange themselves in the way they should perform the tasks they happen to be in.”
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Jude's Korean adventures
Alcohol in South Korea
All bars and local night establishments are filled to the brim with things you have seen in all other places like Jack Daniels and Jagermeister.
However you may spy a little green bottle with Korean writing on it and you may ask what is that? It's called Soju, my friends or 소주 for the Hangil inclined (Korean Language).
Soju is a spirit primarily made from rice, barley, potatoes or tapioca and has an average alcohol content of 20% ABV however there are some brands of Andong Soju that are upward of 45% ABV.
None the less, they will both get the job done. Soju has a taste very similar to vodka but it is slightly sweeter and easier to consume by itself.
Now we get to the matter of cost and availability; however rest assured the answer will be qiute positive. Soju is available all over South Korea from the local convenience store for 1,000 Won = roughly $1 or in a restaurant for 3,000 Won =$3. So these adult treats certainly won't set you back any considerable amount.
It alco mixes quite well with beer, cider, and energy drinks. Soju has been around since the 13th century and shows no signs of going anywhere anytime soon. So when you get the chance come on down to the Republic of South Korea and have a shot of deliciousness.