29:35-36:45
How do Negrón-Muntaner and Ramirez expand further the previous clip?
.By representing “bodily, emotional, and psychological sensation, through various aesthetic means, including collage, repetition, improvisation, copying, scaling, designing, and color, Basquiat generated a dense sensorial archive that revised, related, and recontextualized black, Caribbean, indigenous, and other knowledges, affects, and memories. (339)
.Basquiat likewise evoked not only writing in his texts but also the erasure and repression of stories, knowledge, and histories by way of “scratching on these things”: crossing out, smudging, and painting over letters… Basquiat employed words in a similar manner as he did crowns: to move and direct the reader’s eye to consider alternative associations that disrupt knowledge that has become so naturalized that it appears as “empirical truths.” (348)
.Like Schomburg, Basquiat referenced Afro-Latino history to complicate Anglocentric narratives on blackness and viewed what he would call “Spanish American” black history as a central part of global history. (353)
(See also pages 349, 351)
Presentation(s)
Unpacking the film
How do you interpret the character of Benny Dalmau, the Puerto Rican basketball player and artist? Why are his scenes important? What is your interpretation of the ending of the film? 21:15; 52:17; 1:38:49
How does the film (directed by white filmmaker, painter, and visual artist Julian Schnabel) reproduce in its mise en scene the white gaze/frame that impacted Basquiat throughout his intense short life? (See Negrón-Munataner and Ramirez, 362)