Clive Nwonka

May 2, 2024 | msn.com | Clive Nwonka

These cookies are set by a range of social media services that we have added to the site to enable you to share our content with your friends and networks. They are capable of tracking your browser across other sites and building up a profile of your interests. This may impact the content and messages you see on other websites you visit. If you do not allow these cookies you may not be able to use or see these sharing tools.

May 2, 2024 | msn.com | Clive Nwonka

Microsoft Cares About Your PrivacyMicrosoft and our third-party vendors use cookies to store and access information such as unique IDs to deliver, maintain and improve our services and ads. If you agree, MSN and Microsoft Bing will personalise the content and ads that you see. You can select ‘I Accept’ to consent to these uses or click on ‘Manage preferences’ to review your options and exercise your right to object to Legitimate Interest where used.

May 2, 2024 | standard.co.uk | Clive Nwonka

On February 18th, 1965, in a packed Cambridge Union, two of America’s most influential public intellectuals debated the subject The American Dream is at the expense of the American Negro. On one side was William F Buckley, a fierce opponent of civil rights legislation, pro segregationist, and a leading conservative icon. On the other was James Baldwin, the Black writer and a leading voice of the civil rights movement.

Nov 8, 2023 | bfi.org.uk | Mandeep Kaur-Lakhan |Kenneth Tynan |Ian Christie |Clive Nwonka

In the 75th year of the National Health Service, BFI assistant curator Mandeep Kaur-Lakhan looks at how shows from General Hospital to Casualty have helped to take the pulse of the nation. While the first NHS hospital was opened by Aneurin Bevan in Greater Manchester in 1948, it wasn’t until 1957 that audiences were first admitted on to the fictional wards of the hospital soap.

Nov 3, 2023 | bfi.org.uk | Clive Nwonka |Adam Scovell |George Bass |Phuong Le

In watching Pressure (1975), the landmark film exploring the experiences of young Black people within Ladbroke Grove’s West Indian community, there’s an inevitable sense of both loss and resistance, given the recent death of the great Trinidadian-born filmmaker Sir Horace Ové and the pioneering nature of Ové’s masterpiece. The recent obituaries were united in seeing it as the seminal work of a groundbreaking filmmaker.