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re-edit removed the beginning and end framing of the original film, removed provocative material such as and restructured the sequence of other material. The result was nearly five minutes shorter, with around 80 changes. The original film had presented an analysis "clearly from the black perspective", ascribing political responsibility for the situation to the
British state in a post-colonial situation where capitalism was encountering limits. By contrast, the re-edited version presented what Mwinyipembe characterized as "the point of view of the state itself, laying the blame on blacks". All of the original production team disassociated themselves, and were not included in the credits for the re-edited version. Colin Prescod, outraged after managing to see the re-edit, demanded that the company remove all his material. WGBH ignored Prescod's request, and his legal attempt to block publication was unsuccessful.
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WGBH released a statement by David
Fanning objecting to the "arrangement of the material within the film, which, when viewed out of context by an American audience, would be confusing." They showcased their own re-edit to the press, blocking the original production team from attending viewings. The
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as approaching "British racism from an uncompromising
Marxist perspective, showing how it is used to create a permanent underclass and to set the working class at war with itself". WBGH's recut version provided "an object lesson in the anatomy of censorship." In December 1978
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There was a very immediate and hostile reaction. Everyone felt that it was "revolutionary, that the audience just wouldn't be able to cope with a film that came out so clearly, as they said, with a "call for
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and other black
British intellectuals and activists. By the end of May 1978, according to Koff, the film was ready to show to WGBH. However, it faced immediate opposition from WGBH executives such as
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After submitting the final cut of the film in late June Koff and
Mwinyipembe learned that WGBH had decided to cancel the July 13 broadcast, and 're-edit' the film for release. Accusing WGBH of
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in
November 1979, called the film "a relentless and engrossing indictment of racism toward black immigrants to England, told from an obvious
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It was officially agreed that Koff and
Mwinyipembe should continue preparing the film for national television release on July 13, 1978.
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Koff, David; Mwinyipembe, Musindo (May–June 1979). "The Black
Scholar Interviews: David Koff & Musindo Mwinyipembe".
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developed in
Britain but at the same time a very clear response to that racism was also beginning to manifest itself.
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They initially proposed a documentary about the
British black community to the Boston public television station
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Koff and Mwinyipembe, who had spent much of her childhood in Britain, became interested in the phenomenon of
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What's Left of Blackness: Feminisms, Transracial Solidarities, and the Politics of Belonging in Britain
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also went on public exhibition at one London cinema, until WGBH secured an injunction against it.
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Fisher, Tracy (2012). "Revolutions of the Mind: Afro-Asian Politics of Change in Babylon".
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in September 1977. To make the documentary, Koff and Mwinyipembe worked closely with
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was a 1978 American documentary film directed and produced by
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Sound Recording: Albert Bailey: Neil Kingsbury, Michael Lax
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Photography: William Brayne, Mike Davis, Charles Stewart
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342:"Blacks Britannica: Racism in public TV"
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187:Associate Producer: Musindo Mwinyipembe
233:. Palgrave Macmillan. pp. 59–63.
400:American documentary television films
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324:New Challenges for Documentary
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312:: A Clear Case of Censorship"
193:Assistant Editor: Neil Gibson
150:won the special prize of the
410:Racism in the United Kingdom
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208:Dubbing Mix: Tony Anscombe
181:Producer & Director:
211:Research: Margaret Henry
190:Editor: Tom Scott Robson
322:Rosenthal, Alan (ed.).
395:1978 documentary films
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420:Black British history
415:Black British culture
156:Leipzig Film Festival
75:Notting Hill Carnival
29:. An analysis of the
83:institutional racism
326:. pp. 402–407.
27:Musindo Mwinyipembe
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65:Making of the film
375:Blacks Britannica
364:Blacks Britannica
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43:Darcus Howe
389:Categories
216:References
183:David Koff
119:censorship
113:Censorship
23:David Koff
133:Reception
346:Jump Cut
316:Jump Cut
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51:Gus John
380:YouTube
199:Music:
176:Credits
170:Marxist
154:at the
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