the killing floor (1984 film)

Custer’s position in the union is not rewarded but tested from every angle, with each incident cracking the foundation of his faith. Catch me with the Vocelli Pizza Union (VPU). The established organizers hint around a certain point—that they’re quite pleased to have a high-ranking black member among them specifically because they’re counting on Custer to curtail the use of non-unionized black laborers during future strikes.

Screenwriter: Leslie Lee, Elsa Rassbach, Ron Milner. Set during World War I, two African-American men deal with racism in the workplace and the labor union. Details on some of the unmade projects in the “Made in USA” series can also be found in the FAIR piece, as well as in various press releases distributed throughout the ’90s, and even in the, , which in August 1992 reported the following about what Rassbach hoped would be the second film in the series: “. A key scene, and in retrospect probably the most affecting, happens when Custer and his wife Mattie (Alfre Woodard) have dinner with a number of white labor organizers and their respective wives. Book — Non-fiction. And the function of those qualities adds up to far more than just period detail and regional texture: The film’s relationship to established facts and records are what drives its narrative momentum—and what eventually grants it true purpose. Lee’s screenplay weaves those histories together by charting their cascading effects on a years-long unionization effort by the stockyard workers. This book details the wave of racist violence that swept the United States in 1919, through the lens of Black armed resistance and freedom struggle. The established organizers hint around a certain point—that they’re quite pleased to have a high-ranking black member among them specifically because they’re counting on Custer to curtail the use of non-unionized black laborers during future strikes. The film had already premiered to acclaim in 1984 in the PBS American Playhouse series.

Even though the film has the look and feel of a made-for-television film, this is the type of great drama that we could use today, but most gatekeepers would not have the stones to actually make. The series was to be called “Made in USA”  and was meant to be aired under the banner of PBS’s, premiered in 1984 before playing at festivals including Sundance and Cannes. Written by JAKE MULLIGAN Posted June 17, 2020 In 2019 UCLA Film & Television Archive created a 4K digital restoration of The Killing Floor in commemoration of the 100th anniversary of Red Summer and the Chicago Riot of 1919. While it lacks an aesthetic sheen it has a very important point of view: that meaningful movements require all races to come together but the group in power (white Americans) will forget that unity once times are hard and …

Preserved by UCLA Film & Television Archive as part of the Sundance Institute Collection. The rest are movies (arranged in chrono order) which I include as I ramble…, Films directly about the conflict, its ensuing social and cultural fallout, or just in any way related to the First…, All entries courtesy of the AV Club. First thing you hear in The Killing Floor is voiceover narration delivered by a black man in the South circa September 1917, right before he catches a train for Chicago. More details at 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. Be warned there are a whole lot of slurs thrown around in this one. When Frank decides to support the union, his best friends from the South turn against him. Frank Custer (Damien Leake), the narrator who says that opening line, is positioned as the protagonist. — Sundance Film Festival, Less fictionalized than most historical dramas, The Killing Floor is scrupulously researched, with every character based on a real person — no “composites” here. White immigrant workers are determined to improve their bargaining power by bringing the new black migrants into the union for the first time, but many blacks resist, having had bitter experience with whites. Any and all omissions are due…, WORK IN PROGRESS. 2015. And though contradictory it may seem, in all these unresolved conflicts and blank spaces The Killing Floor’s image of history becomes thrillingly whole. THEY’RE ALMOST ALL BIG-NAME SPOTS. The Killing Floor. More in my recommendations for overlooked Black films streaming: www.gaycitynews.com/hidden-under-plain-white/. In William Tuttle’s book [. Pretty good for what it is. Available on June 19 at the “Virtual Cinema” pages of the Brattle Theatre, the Cabot Street Cinema, and other film institutions. The series was to be called “Made in USA”  and was meant to be aired under the banner of PBS’s American Playhouse (1982-96), which is where The Killing Floor premiered in 1984 before playing at festivals including Sundance and Cannes. With Damien Leake, Alfre Woodard, Moses Gunn.

“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.

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