‘Passing’: Rebecca Hall Reveals Personal Link To Directorial Debut – Contenders London

Posted in Articles, Arts, Media Archive, Passing on 2021-10-10 21:21Z by Steven

‘Passing’: Rebecca Hall Reveals Personal Link To Directorial Debut – Contenders London

Hollywood Deadline
2021-10-09

Anna Smith

Diana Lodderhose, Rebecca Hall, Ruth Negga and André Holland
Deadline

Rebecca Hall revealed a personal link to her directorial debut Passing at Deadline’s Contenders Film: London this morning. Joined on stage by stars Ruth Negga and André Holland, she explained why she adapted Nella Larsen’s 1929 novel. “My mother’s from Detroit and her father was African American and passed for white his whole life. When I read the book, it clicked into place: obviously that’s what my grandfather did — for his family, his children’s life.”

Based on Nella Larsen’s 1929 novel, writer-director Hall’s Passing explores the lives of two mixed-race childhood friends, Irene (Tessa Thompson) and Clare (Ruth Negga), who reunite as adults. They become involved in each other’s lives and explore how they diverged due to Irene identifying as Black while Clare “passes” as white. Holland, Alexander Skarsgård, Bill Camp and Gbenga Akinnagbe also star in the film, which premiered at Sundance. Netflix acquired the pic in February for nearly $15 million…

Read the entire article here.

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Gibbes Museum’s Film Series to Focus on Racial Passing

Posted in Articles, Arts, Live Events, Media Archive, Passing, United States on 2021-09-30 03:19Z by Steven

Gibbes Museum’s Film Series to Focus on Racial Passing

Holy City Sinner
Charleston, South Carolina
2021-09-23


Ruth Negga and Tessa Thompson appear in “Passing” by Rebecca Hall, an official selection of the U.S. Dramatic Competition at the 2021 Sundance Film Festival. Courtesy of Sundance Institute | photo by Edu Grau

The Gibbes Museum of Art has announced the second installment of its film series, titled “Gibbes Films in Focus: Passing Strange,” which will feature the Lowcountry’s first screening of the 2021 Sundance Film Festival selection, “Passing,” by Rebecca Hall, starring Tessa Thompson, Ruth Negga, Andre Holland, and Alexander Skarsgård and adapted from the groundbreaking novel by Nella Larsen.

In this series, the Gibbes will explore the tradition of race-passing narratives as represented on the silver screen. From Kate Chopin’s 1893 short story “Désirée’s Baby,” to the 1936 and 1951 adaptations of the musical “Showboat,” America has been enthralled by passing narratives, whereby a person of Black descent, but of ambiguous or white features, slips into white society, destabilizing the strict racial codes that have governed so much of American life. This three-part series will be held at the museum this fall…

Read the entire article here.

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Understanding the Legacy of Nella Larsen’s Passing

Posted in Articles, Literary/Artistic Criticism, Media Archive, Passing, United States, Women on 2021-02-10 16:24Z by Steven

Understanding the Legacy of Nella Larsen’s Passing

The Mary Sue
2021-02-04

Princess Weekes, Assistant Editor

Right now on the Sundance circuit is the Rebecca Hall-directed film Passing, starring Tessa Thompson and Ruth Negga. It is an adaptation of the Harlem Renaissance classic Passing by Nella Larsen. Embedded into the text is a rich powerful narrative about the Black American experience and the lengths people go to survive in America.

Nella Larsen was both in 1890s Chicago as the daughter of a mixed-race Afro-Caribbean man and a white Danish immigrant woman. Larsen didn’t grow up with her father and in 1891 the Great Migration hasn’t happened yet, so the Black population was less than 2%. After her mother remarried, they moved to a mostly white neighborhood filled with German and Scandinavian immigrants. As a result, Larsen did not grow up in the usual world of Black Americanness. Or Blackness period…

…While it would be easy to dismiss Passing as a typical “tragical mulatto” story, I have always felt that it was more Larsen reflecting on the ultimate tragedy of those who have passed.

In A Chosen Exile: A History of Racial Passing in American Life by Allyson Hobbs, the author explains that this is a narrative of loss. “I started to realize that writing this history of passing is really writing a history of loss,” Hobbs told NPR….

Read the article here.

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‘Passing’ Stars Talk Rebecca Hall’s Directorial Debut and the Complexity of Racial identity

Posted in Articles, Book/Video Reviews, Media Archive, Passing, United States, Women on 2021-02-02 04:05Z by Steven

‘Passing’ Stars Talk Rebecca Hall’s Directorial Debut and the Complexity of Racial identity

Variety
2021-02-01

Angelique Jackson

Rebecca Hall’s feature directorial debut “Passing” dives into the nuance of racial identity and the complex realities of racial passing, with Variety’s Sundance review touting Hall’s work: “This radically intimate exploration of the desperately fraught concept of ‘passing’ — being Black but pretending to be white — ought to be too ambitious for a first-time filmmaker, but Hall’s touch is unerring, deceptively delicate, quiet and immaculate.”

Intimate is a particularly choice word to describe the project, as the film’s story holds personal significance for all its cast — including stars Tessa Thompson and Ruth Negga, both of whom are mixed race — but the project is particularly connected to Hall’s personal story. Hall is the daughter of famed theater director Peter Hall and legendary opera singer Maria Ewing. And though the British actor presents as white, Hall in fact comes from a mixed-race background, with a generational history of passing on her maternal grandfather’s side.

“I don’t think that I really had language for passing. It was such a difficult area of conversation in my family,” Hall recalls, explaining her personal connection to the material in conversation at the Variety Sundance Studio presented by AT&T TV, just hours ahead of the film’s Sundance premiere…

Read the article and watch the video here.

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‘Passing’ Review: Rebecca Hall’s Subtle, Provocative Directorial Debut

Posted in Articles, Book/Video Reviews, Media Archive, Passing, United States, Women on 2021-02-02 03:38Z by Steven

‘Passing’ Review: Rebecca Hall’s Subtle, Provocative Directorial Debut

Variety
2021-01-31

Jessica Kiang


Eduard Grau

A superbly performed study of racialized longing and feminine dissatisfaction in 1920s New York, lit by searing intelligence and compassion.

t starts in sweltering heat; it ends in freezing weather. And in between, as the temperature gradually drops, Rebecca Hall’sPassing,” based on Nella Larsen’s 1929 novel, calmly brings the diffuse racial landscape of prohibition-era New York City into crystalline, gorgeously shot focus. This radically intimate exploration of the desperately fraught concept of “passing” — being Black but pretending to be white — ought to be too ambitious for a first-time filmmaker, but Hall’s touch is unerring, deceptively delicate, quiet and immaculate, like that final fall of snow.

On a hot summer day, Irene (Tessa Thompson) is downtown on an errand. Her visible discomfort, the way she tries to retract into herself, to hide behind the gauzy brim of a hat that cuts her eyeline in two, is a silent evocation of how uncomfortable she is under the gazes of the white people around her. This time, anyway, she is mostly projecting: No one takes much notice, nothing too alarming happens. But then suddenly, stepping into the full beam of all that projection and sometimes catching the light, there’s Clare (Ruth Negga), a childhood friend visiting from Chicago, now unrecognizably glamorous, with a perfect swoop of blonde hair and arched, lightened brows framing silent-movie-It-Girl eyes…

Read the entire review here.

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Rebecca Hall Talks Complicated Notions Of Bi-Racial Identity In Directorial Debut ‘Passing,’ ‘Tales From The Loop’ & More [Deep Focus Podcast]

Posted in Articles, Arts, Audio, Interviews, Media Archive, Passing, United States on 2020-06-15 01:47Z by Steven

Rebecca Hall Talks Complicated Notions Of Bi-Racial Identity In Directorial Debut ‘Passing,’ ‘Tales From The Loop’ & More [Deep Focus Podcast]

The Playlist
2020-06-10

Rodrigo Perez

Actor Rebecca Hall comes from a unique and interesting pedigree and lineage. There’s the surface element of that pedigree which could be seen as aristocratic privilege in the world of the arts. She is the daughter of the famous theatre director Sir Peter Hall (who passed away in 2017) and her mother is the legendary opera singer and stage actress Maria Ewing. Hall attended Cambridge University’s constitute school, St Catharine’s College, studied English, and eventually found her way back to acting after some time briefly spent as an actor during childhood.

Known for an eclectic career that took off after an early breakthrough performance in Christopher Nolan’s “The Prestige,” Hall’s also appeared in such movies as “Vicky Cristina Barcelona,” “Frost/Nixon,” Nicole Holofcener’s “Please Give,” Ben Affleck’s “The Town,” Joel Edgerton’s “The Gift,” and Antonio Campos’ striking indie “Christine” which brought her much extra acclaim to an already celebrated career.

But her personal identity, or at least the one of her parents, is much different. Hall’s mother is from Detroit, Michigan—perhaps an unlikely place as any to birth an opera singer—and bi-racial with African American and Dutch ancestry. Her grandfather was also bi-racial and to hear Hall tell it, both of them had a very complicated and complex struggle with their identity and how they appeared to others in the world.

This struggle, this question of identity and who you pass as in the world is something Hall tries to reckon with in “Passing,” her upcoming directorial debut which probably couldn’t be more timely. An adaption written by Hall as well, and something she’d been hoping to make for years, “Passing” is based on Nella Larsen’s 1920s Harlem Renaissance novel of the same name that explores the practice of racial passing, a term used for a person classified as a member of one racial group who seeks to be accepted by a different racial group. The film stars Tessa Thompson and Oscar nominee Ruth Negga as two reunited high school friends, whose renewed acquaintance ignites a mutual obsession that threatens both of their carefully constructed realities.

In this latest episode of our Deep Focus Podcast, Hall discussed “Passing” at length, including the ideas of permission and permits needed to try and tell these kinds of stories and the charges of cultural appropriation that can be lobbied at one when making them. But her original statement of intent is perhaps most succinct and eloquent when she said: “I came across [Passing] at a time when I was trying to reckon creatively with some of my personal family history, and the mystery surrounding my bi-racial grandfather on my American mother’s side. In part, making this film is an exploration of that history, to which I’ve never really had access.”

At the time, she described “Passing” as an astonishing book “about two women struggling not just with what it meant to be Black in America in 1929, but with gender conventions, the performance of femininity, the institution of marriage, the responsibilities of motherhood, and the ways in which all of those forces intersect.”…

Read the entire article and listen to the podcast (01:04:15) here.

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‘Passing for white’: how a taboo film genre is being revived to expose racial privilege

Posted in Articles, Communications/Media Studies, Media Archive, Passing, United States on 2018-08-22 00:48Z by Steven

‘Passing for white’: how a taboo film genre is being revived to expose racial privilege

The Guardian
2018-08-20

Janine Bradbury, Senior Lecturer in Literature; School Learning and Teaching Lead
School of Humanities, Religion & Philosophy
York St John University, York, United Kingdom

SUSAN KOHNER and JUANITA MOORE in Imitation of Life
Crossing the colour line … Susan Kohner and Juanita Moore as daughter and mother in Douglas Sirk’s Imitation of Life (1959). Photograph: www.ronaldgrantarchive.com

Rebecca Hall’sdirectorial debut is an adaptation of Nella Larsen’s 1929 novel Passing, a theme little seen since the likes of Show Boat and Pinky

Hollywood once loved films about passing. The genre was popular in the 1940s and 50s, when segregation was rife and the “one-drop rule” – which deemed anybody with even a trace of African ancestry to be black – prevailed. Box-office hits included Elia Kazan’s Pinky (1949) and George Sidney’s musical Show Boat (1951), which featured light-skinned, mixed-race characters who passed for white in the hopes of enjoying the privileges whiteness confers. The secrets, the scandal and the sheer sensationalism of it all made for excellent melodrama.

Now Rebecca Hall, the star of Vicky Cristina Barcelona and Red Riding, is revisiting the genre with her directorial debut, an adaptation of Nella Larsen’s seminal 1929 novel Passing. Tessa Thompson and Ruth Negga will feature in the project, which tells the story of childhood friends, Clare Kendry and Irene Redfield, who are both light-skinned enough to pass for white but choose to live on opposite sides of the colour line…

…How will Hall negotiate the tricky history of the genre? Even though it was a real-life phenomenon, most films about passing, including Pinky and Show Boat, have literary roots. William Wells Brown’s 1853 anti-slavery novel Clotel, which imagines the fate of Thomas Jefferson’s mixed race progeny, is perhaps the first American passing novel. Brown used passing to expose the arbitrary nature of white privilege. His mixed-race characters were a manifest symbol of the reality that many powerful, supposedly God-fearing white slaveholding men were coercing and raping enslaved black women and condemning their own children to a life in bondage (although, as Beyoncé recently revealed, not all unions were of this nature)…

Read the entire article here.

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Rebecca Hall To Make Directorial Debut With ‘Passing’; Tessa Thompson & Ruth Negga Star In Adaptation Of 1920s Novel

Posted in Articles, Arts, Passing, United States, Women on 2018-08-07 03:40Z by Steven

Rebecca Hall To Make Directorial Debut With ‘Passing’; Tessa Thompson & Ruth Negga Star In Adaptation Of 1920s Novel

Deadline Hollywood
2018-08-06

Amanda N’Duka

Rebecca Hall Tessa Thompson Ruth Negga
Shutterstock

EXCLUSIVE: Rebecca Hall has set up Passing, an adaptation based on Nella Larsen’s 1920s Harlem Renaissance novel that explores the practice of racial passing, a term used for a person classified as a member of one racial group who seeks to be accepted by a different racial group. Hall has penned the script and will direct in her feature helming debut, with Westworld star Tessa Thompson and Oscar nominee Ruth Negga attached to star in the film.

Margot Hand of Picture Films and Oren Moverman of Sight Unseen are producing, with Angela Robinson serving as executive producer.

First published in 1929, Passing follows the unexpected reunion of two high school friends, Clare Kendry (Negga) and Irene Redfield (Thompson), whose renewed acquaintance ignites a mutual obsession that threatens both of their carefully constructed realities…

Read the entire article here.

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41 Women of Color Get REAL About Beauty and Diversity

Posted in Articles, Arts, Media Archive, United States, Women on 2017-03-22 18:32Z by Steven

41 Women of Color Get REAL About Beauty and Diversity

Allure
2017-03-21

Elizabeth Siegel, Deputy Beauty Director

Lindsy Van Gelder, Writer

Patrick Demarchelier, Photographer


Left, on Dilone: Swimsuit by Alix. Bracelet by Hervé Van Der Straeten. Center, on Aamito Lagum: Swimsuit by Acacia Swimwear. Earrings by Marni. Right, on Imaan Hammam: Swimsuit by Mikoh. Earrings by Loewe.

We smooth it with scrubs. We soften it with creams. We dab it with highlighter. But our skin is so much more than a reflection in the mirror. Our skin is the metaphor that defines how we’re seen — and how we see ourselves. For our April 2017 cover story, Allure asked 41 women of color to tell us the story of their lives through their skin — and skin tone. Because our skin can be both a vulnerability and a defense. But most importantly, it can be a source of celebration…

Meghan Markle, actress, Suits

“I have the most vivid memories of being seven years old and my mom picking me up from my grandmother’s house. There were the three of us, a family tree in an ombré of mocha next to the caramel complexion of my mom and light-skinned, freckled me. I remember the sense of belonging, having nothing to do with the color of my skin. It was only outside the comforts of home that the world began to challenge those ideals. I took an African-American studies class at Northwestern where we explored colorism; it was the first time I could put a name to feeling too light in the black community, too mixed in the white community. For castings, I was labeled ‘ethnically ambiguous.’ Was I Latina? Sephardic? ‘Exotic Caucasian’? Add the freckles to the mix and it created quite the conundrum. To this day, my pet peeve is when my skin tone is changed and my freckles are airbrushed out of a photo shoot. For all my freckle-faced friends out there, I will share with you something my dad told me when I was younger: ‘A face without freckles is a night without stars.’ ”…

Misha Green, cocreator, writer, and producer, Underground

“My skin is a shade darker than caramel, with a speckle of chicken pox scars that I tried to pass off as freckles in middle school. Spending summers in the South growing up, I was always aware of colorism in the black community, but it wasn’t really until I attended an all-white middle school that I encountered it. I remember riding the bus and one of my classmates was turned around in her seat staring at me. I asked why. She wanted to know what I was mixed with. She had never seen such a pretty black girl, so she assumed I must be mixed with something. At the time, I was too offended to answer. But since then, I have been asked what I’m mixed with too many times to count, and each time I am met with skepticism when I reply that I am black. I continue by informing the misinformed — the African diaspora comes in many hues; all of them are beautiful.”…

Read the entire article here.

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Our Diversity Isn’t Looking Very Diverse

Posted in Articles, Arts, Communications/Media Studies, Media Archive, United States on 2016-08-20 23:29Z by Steven

Our Diversity Isn’t Looking Very Diverse

Affinity Magazine
2016-08-20

Etienne Rodriguez
Rutgers, The State University of New Jersey

Look alive, True Believers, if the rumors are to be believed, then Zendaya is playing the role of Mary Jane Watson in the upcoming Spider-Man movie. This is the latest in a series of black women being cast in traditionally white comic book roles. First it was Candice Patton being cast as Iris West in CW’s The Flash, then Tessa Thompson as Valkyrie in Marvel’s Thor: Ragnarok, followed by Kiersey Clemons being cast in Warner Brother’s The Flash, and now Zendaya. While they’re all great actresses and I can’t wait to see them in action, it’s hard not to notice that only a certain type of black girl is being cast.

We all want to celebrate the fact that black women are getting more roles, but we need to address the colorism in these casting. Zendaya, Kiersey, Tessa, and Candice are all lightskin black women. These aren’t coincidences; these are products of our society’s devaluing of darkskin black women, especially those that don’t meet Eurocentric beauty standards. These actresses received/continue to receive a lot of hate, doused in racism no doubt, but nothing in comparison to what Leslie Jones went through just last month.

Leslie is a darkskin black women with Afrocentric features, and the internet sure as hell wanted her to know it. Through comparison to gorillas, various racial slurs, and general bigotry, she was forced to retreat from Twitter and thus interacting with her fans. Women like her are rarely given the chance to shine and when they are, they’re met with harassment and abuse…

Read the entire article here.

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