RaMell Ross

But I think the way in which Jocelyn Barnes, who's a producer on the film and also a co-writer, she was born in North Africa, understands perception and the world to be ushered in as a starting point from Black subjectivity.

But I think the way in which Jocelyn Barnes, who's a producer on the film and also a co-writer, she was born in North Africa, understands perception and the world to be ushered in as a starting point from Black subjectivity.

But I think the way in which Jocelyn Barnes, who's a producer on the film and also a co-writer, she was born in North Africa, understands perception and the world to be ushered in as a starting point from Black subjectivity.

And with that, you're graced with, especially in a conceptual way, you're graced with the open endedness with which we actually view each other or it's possible to view each other. Most people who are making movies are, like myself, are programmed and indoctrinated in the same visual language as everyone else.

And with that, you're graced with, especially in a conceptual way, you're graced with the open endedness with which we actually view each other or it's possible to view each other. Most people who are making movies are, like myself, are programmed and indoctrinated in the same visual language as everyone else.

And with that, you're graced with, especially in a conceptual way, you're graced with the open endedness with which we actually view each other or it's possible to view each other. Most people who are making movies are, like myself, are programmed and indoctrinated in the same visual language as everyone else.

Yeah. Yeah.

Yeah. Yeah.

Yeah. Yeah.

As a maker, I realized this from like photographing for in the South for so long. it took me three years to make an image that was unique to me because I had to work through the images that I knew were good that had programmed the way in which I photographed. Like our imaginations are curated. We think that we're free thinkers. We are, but you can only output what has been input, you know?

As a maker, I realized this from like photographing for in the South for so long. it took me three years to make an image that was unique to me because I had to work through the images that I knew were good that had programmed the way in which I photographed. Like our imaginations are curated. We think that we're free thinkers. We are, but you can only output what has been input, you know?

As a maker, I realized this from like photographing for in the South for so long. it took me three years to make an image that was unique to me because I had to work through the images that I knew were good that had programmed the way in which I photographed. Like our imaginations are curated. We think that we're free thinkers. We are, but you can only output what has been input, you know?

And so you have to, you have to work at imagining, you know, you have to practice and flex aesthetics and,

And so you have to, you have to work at imagining, you know, you have to practice and flex aesthetics and,

And so you have to, you have to work at imagining, you know, you have to practice and flex aesthetics and,

Yeah, it was an initial decision that Jocelyn took, which was to just consider especially over the course of photographic history and also kind of early film history, the over index of images of black people in violence and the way in which sort of black skin holds this history of slavery and the transatlantic slave trade and all of this suffering so much so that like black skin is content itself.

Yeah, it was an initial decision that Jocelyn took, which was to just consider especially over the course of photographic history and also kind of early film history, the over index of images of black people in violence and the way in which sort of black skin holds this history of slavery and the transatlantic slave trade and all of this suffering so much so that like black skin is content itself.

Yeah, it was an initial decision that Jocelyn took, which was to just consider especially over the course of photographic history and also kind of early film history, the over index of images of black people in violence and the way in which sort of black skin holds this history of slavery and the transatlantic slave trade and all of this suffering so much so that like black skin is content itself.

You want to change the content of something? You can color in the person black. It's something I used to do. I do do for my art practice with Shel Silverstein poems. If you color in the person brown, it changes the context of the poem. The poem means something different. What is that? Black skin has a different history, right? Like we're drawing on a different thing.

You want to change the content of something? You can color in the person black. It's something I used to do. I do do for my art practice with Shel Silverstein poems. If you color in the person brown, it changes the context of the poem. The poem means something different. What is that? Black skin has a different history, right? Like we're drawing on a different thing.