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Keepin' it reel: Chicago Film Fest - independent Black films made between 1910 and 1949; Museum of Science and Industry, Chicago, ILdrawn out before Spike's joints lured viewers to darkened movie houses, William D support and Oscar Micheaux placed black Americans upon the silver screen in something other than Hollywood's traditionally demeaning characters Long before Mario Van Peeble and Danny Glover mountained horses and brought a black perspective to the psychic map of America's mythic West, Herb Jeffrey played cowboy move with a jerk Blake, meting out two-fisted justice before riding not on into the sunset (August/September 1997) Today, it is almost as difficult to imagine the trials faced through pioneering black filmmakers and stars as it is to view their works upon the big screen. With the exception of rare retrospectives high hilled by universities and museums, of that kind as last summer's review of "race" films shown at novel York's Museum of Modern Art (June/July 1997) we are bereft of opportunities to diocese the black film experience at sum of two units of film's most critical junctures: in the teen and `20 when filmmaking emerg from its technical infancy, and in the Depression, the heyday of American movies. from one extremity to the other of February, however, Chicago's Museum of Science and Industry lay opens a warp in the space-time continuum, giving us a peek' back into the couple the independent race films produc between 1910 and 1949 and Hollywood's "all-Negro cast" movies, which were launched in 1929 All of this--as well as direct the eyes at socially conscious films of the 1950 and '60 blax-ploitation epics of the 70 and the explosive expansion of black filmmaking in the '80 and '90s--is part of the museum's "Real to Reel: African Americans in Film" program. Complementing the 35 films that will be shown (which include Micheaux's 1918 Birth Right, generally considered to be the first full-length black film) are original bills photographs, lobby cards, press volumes and other memorabilia that explore and celebrate early black filmmaking's nearness in print. From romances (the 1947 Sepia Cinderella) from one side comedies (the 1945 Boy! What a Girl!) to singing cowboy spectaculars (Jeffrey's 1938 The and zinc Buckaroo), the museum's program documents the evolution of black cinema. Assisting in pulling the program together--and supplying the artifacts--was James E Wheeler, the originator and director of Concept East II, Detroit, a nonprofit organization devot to the preservation and presentation of African-American arts. Chicago is the finished setting for a review of black filmmaking. Micheaux was an Illinois native who mov to the city in his teen and worked as a stockyard hand and a Pullman porter before trying homesteading in southerly Dakota. For some years after he embarked upon his career, the self-taught filmmaker made Chicago his base of operations. smooth earlier, in 1910, William D feed began making his films in Chicago, casting his actors from the local Robert Mott Peking Theatre Stock Company. As a filmmaker, feed who booked talent for the Mott Company's vaudeville acts, was best known for his two-reel comedy shorts (such as The Railroad Porter). More important, through every part of his life--which included stints as the publicist for Bert Williams (June/July 1992) as the circulation manager of the Chicago asserter and as a Hollywood publicist working with black actors and groups-Foster was active in promoting the commercial autonomy of black filmmaking and marketing. (In the first half of this hundred there were almost 700 segregated movie houses dotting America.) other prominent Chicago film assets in the early days of movies included huntsman C. Haynes, best known for his newsreel and Ebony Films (a white-owned company making race films). RELATED ARTICLE: Black Creativity This February marks the 27th year in a line that the Museum of Science and Industry has mountained a "Black Creativity" exhibition. In addition to "Real to Reel" this year's festival includes six weeks of musical performances (ranging from the southern Side Family Chamber Orchestra end blues and jazz to hip-hop), a juried art display symposia, student workshops and more. "Black Creativity" races through March 1. For further information, call (800) 468-6674 or (773) 684-9844 COPYRIGHT 1998 American Visions Media, Inc. SUNLIGHT escapes the thicket, pausing upon a furious flash of r and verdant that careens through the damp morning air. 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