The Michigan Daily - Tuesday, October 9, 1990 - Page 7 - LL These guys are pretty good looking, right? Did you ever wonder what a Lubricated Goat looks like? Probably not. Well, at least these guys can do interesting things with their lips (i.e. make those annoying fish faces). They have come from 3,000 miles away (Australia, to be exact) to impress you with their lips and perform tonight at Club Heidelberg. Local weirdos Wig open and out-of--staters Monster Trucks get second billing on the first of two "Aussie Road Kill Nights." The show starts at 10 p.m. and tickets are $6 at the door for the first night If you wanna go both nights, the second is only 3 additional bucks. Hey, at least their new album Psychadelicatessen has an interesting name. Michigan Alumni work here: The Wall Street Journal The New York Times The Washington Post The Detroit Free Press The Detroit News NBC Sports Associated Press United Press International Scientific American Time Newsweek Sports Illustrated USA Today Because they worked here: a f . i U M SERIES Continued from page 5 an African film industry, because, says Ukadike, "Then the people would start asking questions about their conditions." Ukadike further explains that "even after independence, you dis- *cover that film distribution and ex- hibition are still controlled by for- eigners who don't want to contribute to African film." In part due to these adverse condi- tions, African cinema has developed differently from film in the West. Ukadike makes analogies between Latin American and African cinema, and "third world" cinema in general, similarities that point to their counter-hegemonic purposes and their efforts to redefine themselves against the Hollywood tradition. The African tradition has at- tempted to invent a film language that is uniquely African, using cin- ema to redefine African identity and culture. In this way, African cinema operates like that of oppressed peo- ple all over the world, using the camera to seek and document ethnic identity with the voices of the peo- ple. Ukadike emphasizes this simi- larity as the one uniting factor of African cinema: "The main thing uniting them is that they all use the cinema as a political weapon to look at themselves critically - what is going on in the society, from an in- sider's view." Ukadike distinguishes African film from these other traditions, however, in its adherence to the tra- dition of oral storytelling. He indi- cates that the narrative serves to ex- press not the linear progression of Western films, but the syncopated structure of the oral tradition. As peasants "will stop the narrative to tell this story or sing that song, so is cinematic structure cut away to sing or dance, then go back to the story." The difference between the oral tradition and African film, says Ukadike, is that "one is technologi- cally informed while the other is not." Yet it is this very difference that makes African film difficult to understahd for some Westerners, a sort of "narcissism that leads to misunderstanding because it is differ- ent." Of course, African film is also influenced by the dominant tradition of Western films that have been ex- ported to Africa for years. So it is, the fusion of the dominant tradition, the oral tradition, African culture and history, and political goals that makes the African cinema so distinc- tive. Films made before the mid- to late-'80s, however, differ from their predecessors in a significant way. "When the new breed of African filmmakers came," explains Ukadike, "They started questioning how to get money to make more films. While they are trying to rede- fine the film structure, making use of African themes and dealing with African subjects, they also want to incorporate certain aspects of film- making such as comedy and satire that will appeal not only to Africans but to the outside world." This has led to both filmmakers who pander their films to interna- tional tastes, and those who refuse to alter their films, even for large sums of money. Ukadike raises the exam- ple of sex in African films: "We're now seeing kinky sex, whereas in the African tradition, indecent expo- sure of the human body is seen as taboo." "But a few films have been made where the filmmakers know that the film will not be seen in their countries because they're going to be banned," he continues. "But they're targeting not Africans but people here because they know we like that kind of thing and they want to make enough money to make another film." The films of the '60s and '70s, however, tended to be far more didac- tic, attempting to foster grassroots support for revolution and reform by educating the people about them- selves. Ousmane Sembene, for ex- ample, was a novelist before he be- gan making films. But he realized that his books were not reaching a large portion of the society that was illiterate, so he turned to films as a way to educate. Because of difficulties in distribu- tion and exhibition, many African films don't leave Africa because they simply aren't seen. The films that do reach New York or San Francisco usually travel via international film festivals, so there remains a wealth of films that stay unknown simply offers a unique opportunity to see some of Africa's finest films in a va- riety and depth that reflects the cul- ture of an entire continent. THE AFRICAN FILM SERIES will show on Tuesday nights in Angell Hall's Auditorium B at 7 p.m. Ad- mission is free. Fliers explaining the films can be picked up either in the Frieze Building offices of the Pro- gram in Film and Video Studies or at the Michigan Theater. MANDABI (dir. Ousmane Sembene, Senegal, 1968) will be shown tonight. F-A-10 0. VtO f HE DOESN'T WRITE FOR ARTS. You can. Call 763-0379. Share the news . I I1 LONDON PARIS Media Tourismn Advertising/Marketing/PR " The Arts Comparative Legal Systems "European Economy and Politics" Management/ Economics/Finance Journalism/Broadcast/ Film . Politics and International Relations Psychology and Social Policy Public Relations - Business - Advertising - Fashion - The Arts " Government - be~eO fIc n theidstae Marine Corps youfollo your O major before laSyopu w yours A college major leaves you little time to minor in anything else. So how do you become an officer in the United States Marine Corps if you want to concentrate on your major before you devote your undivided attention to one of ours? Join the Marine Corps' PLC (Platoon Leaders Class) program, where all your training takes place in the summer The kind of training that will really test your ability if you want to become an officer in the Marine Corps, join the PLC program. And this summer you can change majors. WASHINGTON For program details complete the coupon below and mail it to: Boston University International Programs 232 Bay State Road Boston, MA 02215 617/353-9888 BOSTON UT Politics - Business/Economics - Legal Systems - International Relations"Journalism/Communi- cations Health Fields The Arts Each internship program includes: up to 16 Boston University semester-hour credits, full-time internships, course work taught by local faculty, centrally located housing, and individualized placements for virtually every academic interest. NIVERSITY An equa/ opportunity, _affirmative action Institution Name Address City State _Zip College/University Summer ___ Fall Spring 19 _ London Internship Programme The Arts - Comparative Legal Systems European Economy and Politics Management/Economics/Finance -Psychology and Social Policy _ Politics and International Relations - Advertising/PR/Marketing -Journalism/Broadcast/Film - Paris Internship Program _ Washington Internship Program Were loo kinfor afew modnmnn OPP K f, This month we pay tribute to the rich cultural traditions of all Hispanic Americans and recognie the sacrifices of our own Hispanic marines. See us on 25 October1990 at the U of M Career Expd or call (313) 973-7070/7501 for more information. _J s Become a because they can't find exhibition. Fortunately, forums for this series Daily Photographer!. THE WAIT IS OVER! A XI THETI IS RETURNING TO MICHIGAN! m a To find out how you can get involved in starting a new I I i