Black Film Review

Black Film Review (BFR) was an American film publication focused on cinema and filmmakers from the African diaspora, particularly independent and Pan-African filmmaking. Based in Washington, D.C., the publication operated from 1984 through 1995 and became an important forum for criticism, interviews, festival reporting, scholarship, poetry, and broader cultural discussion surrounding Black cinema. The publication began in 1984 when David Nicholson produced an undated, one-page newsletter on his personal computer. He photocopied the issue and circulated it to a small group of acquaintances. Three additional handmade issues followed. One of these grew to 24 pages and established several of the editorial interests that would define BFR, including coverage of the Festival of Pan-African Cinema in Ouagadougou, commonly known by its French acronym FESPACO; an interview with actor Denzel Washington; and poetry by Amiri Baraka. These early issues demonstrated that the project was intended to connect film criticism with the wider intellectual and artistic life of the African diaspora rather than function only as a conventional entertainment magazine. In 1985, Nicholson entered a co-publishing arrangement with Anthony Gittens, director of the Black Film Institute at the University of the District of Columbia. Financial support from the National Endowment for the Arts enabled BFR to move beyond its photocopied origins. The magazine was redesigned and printed on glossy paper with photographs, giving it a more established periodical format while preserving its specialist editorial focus. Sojourner Productions published the magazine on a quarterly basis. Nicholson joined the staff of The Washington Post Book World as an editor and book reviewer in 1986. He continued working on Black Film Review as editor and publisher for approximately another year before transferring editorial responsibility to Jacquie Jones. Under Jones, the magazine broadened its attention to Pan-African cinema and filmmakers and received significant recognition. Its influence extended beyond the specialist press: film schools in the United States and other countries used BFR as a teaching text, helping establish the publication as a reference point for students and scholars of Black and diasporic cinema. The magazine's contributors included film scholars and critics such as Donald Bogle, Phyllis Klotman, Pat Aufderheide, Manthia Diawara, and Clyde Taylor. Their participation reflected BFR's position at the intersection of film journalism, academic film studies, cultural criticism, and community-based publishing. During its final two years, the publication was co-published by Eric Easter and edited by historian Leasa Farrar Frazer. Black Film Review ceased publication in 1995. Although its run was relatively short, its documentation of African-diaspora film cultures, independent production, and Pan-African festivals gave it a lasting role in the history of Black film criticism and film scholarship.

Black Film Review emerged in Washington, D.C., in 1984 as a small newsletter created by David Nicholson. The first issue was a one-page document produced on Nicholson's personal computer, photocopied, and distributed to friends. Three further self-produced issues followed, including a 24-page edition that introduced the publication's characteristic blend of criticism, cultural writing, festival coverage, and interviews. That issue reported on the Festival of Pan-African Cinema in Ouagadougou, featured an interview with Denzel Washington, and included poetry by Amiri Baraka. The project developed institutionally in 1985 when Nicholson formed a co-publishing arrangement with Anthony Gittens, who directed the Black Film Institute at the University of the District of Columbia. A grant from the National Endowment for the Arts supported a redesign and a transition to glossy printing with photographic material. Published by Sojourner Productions, the magazine adopted a quarterly schedule and gained a more professional physical form without abandoning its focus on independent and African-diaspora cinema. Nicholson's employment at The Washington Post Book World began in 1986, where he worked as an editor and book reviewer. He nevertheless continued to serve as BFR's editor and publisher for roughly one more year. Editorial leadership then passed to Jacquie Jones. During Jones's tenure, Black Film Review expanded its attention to Pan-African film and filmmakers and achieved recognition among readers, critics, and educators. Film schools in the United States and abroad used the magazine as a teaching resource, indicating that it operated not only as a periodical but also as a bridge between film journalism and academic study. The publication drew on a broad group of contributors, including Donald Bogle, Phyllis Klotman, Pat Aufderheide, Manthia Diawara, and Clyde Taylor. Their work helped situate BFR within Black film history, film scholarship, independent cinema, and diasporic cultural studies. In its final two years, Eric Easter joined as co-publisher and historian Leasa Farrar Frazer served as editor. Black Film Review ended publication in 1995. Its surviving significance lies in the record it created of African-diaspora film activity and in its role in legitimizing Black film criticism as a subject for sustained public and academic discussion.

• 1995

  Publication ends

  [1]Black Film Reviewen.wikipedia.org

  Black Film Review ceases publication after an eleven-year run.

• 1994

  Final editorial phase

  [1]Black Film Reviewen.wikipedia.org

  Eric Easter co-publishes the magazine and historian Leasa Farrar Frazer edits it during its final two years.

• 1987

  Jacquie Jones assumes editorial responsibility

  [1]Black Film Reviewen.wikipedia.org

  Jones takes over editorial leadership and expands the magazine's coverage of Pan-African cinema and filmmakers.

• 1986

  Nicholson joins The Washington Post Book World

  [1]Black Film Reviewen.wikipedia.org

  Nicholson begins work as an editor and book reviewer while continuing to produce Black Film Review for approximately another year.

• 1985

  Co-publishing agreement and redesign

  [1]Black Film Reviewen.wikipedia.org

  Anthony Gittens joins Nicholson as co-publisher, and National Endowment for the Arts funding supports a glossy, photographically illustrated magazine format.

• 1984

  Black Film Review is founded

  [1]Black Film Reviewen.wikipedia.org

  David Nicholson creates the first one-page issue as a photocopied newsletter in Washington, D.C., beginning the publication's run.

• 1984

  Early issue expands the editorial scope

  [1]Black Film Reviewen.wikipedia.org

  One of the early handmade issues reaches 24 pages and includes FESPACO coverage, an interview with Denzel Washington, and poetry by Amiri Baraka.

An independent, internationally oriented film publication centered on African-diaspora cinema, Pan-African filmmaking, and independent film culture. BFR combined journalistic criticism with scholarly and literary contributions and served both general readers and film-school audiences.

• Quarterly film magazine · 1984

  Black Film Review

  The publication's core product was a quarterly print magazine devoted to films and filmmakers from the African diaspora, with particular attention to independent cinema. Issues combined reviews, interviews, festival reports, scholarly essays, cultural commentary, and occasional literary material. The magazine evolved from photocopied newsletters into a glossy, photographically illustrated periodical after its 1985 co-publishing arrangement and arts funding.

• 1987

  Editorial leadership passes to Jacquie JonesStrategy

  Background

  Nicholson's expanding responsibilities at The Washington Post Book World made a change in editorial management appropriate after he continued producing the magazine for approximately another year.

  Action taken

  Jacquie Jones assumed responsibility for editing Black Film Review.

  Aftermath

  The magazine broadened its coverage of Pan-African film and filmmakers and gained recognition as a teaching resource in film schools.

  Source

• 1985

  Move from handmade newsletter to formal magazineStrategy

  Background

  The publication began as a small photocopied newsletter and sought a more durable platform for its coverage of African-diaspora and independent cinema.

  Action taken

  David Nicholson entered a co-publishing agreement with Anthony Gittens, while National Endowment for the Arts funding supported a redesign, glossy paper, photography, and a quarterly publishing format.

  Aftermath

  The change gave Black Film Review a more established periodical identity and helped it reach a wider readership.

  Source

1. 1Black Film Reviewen.wikipedia.org
2. 2The Goal: More Role Reversalswashingtonpost.com