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This essay explores the radical politics and possibilities of the film The Spook Who Sat by the Door through a close reading of film form, especially the ways the film subverts and re-purposes dominant codes and conventions for its own revolutionary messaging. I specifically examine the way Spook critically inhabits the codes of racial liberalism to expose how they operate to contain Black radical politics and coerce an identification with white supremacy and US imperialism. I then examine how the film flips the script to offer a Black radical cinematic space and perspective. To contextualize these operations, I provide a section on the history of racial liberalism and its relationship to Black radical internationalism. I also explore the film's relationship to the genre of Blaxploitation and argue for the ways the film mobilizes the language of the genre rather than rejecting it, as is commonly argued.

Many independent films of the 1960s feature black actors in moments of direct address that explore the nature and significance of acting. This article examines different relationships between actor and camera established in these moments: confrontation, reciprocity, and alignment. Confrontation defines the political stakes of the relationship, while reciprocity and alignment suggest creative possibilities closely tied to the camera's proximity and mobility. This approach allows the performances of black actors to be read in relation to one another, challenging a deterministic focus on typecasting and narrative intentionality that often shapes discussions of black actors in the 1960s.

Ivan Dixon is facing a charge for breaching his probation.

CHARLOTTE, N.C.

Mr. Dixon, who also directed scores of television shows, began his acting career in the late 1950s. He appeared on Broadway in William Saroyan's 1957 The Cave Dwellers and in playwright Lorraine Hansberry's groundbreaking 1959 drama of black life, A Raisin in the Sun. In the latter, he played a Nigerian student visiting the United States, a role he repeated in the film version.

Ivan Dixon (actor) 76 Merle Haggard (country singer) 70

  Coal, gas and nuclear power stations have sources of fuel which, while they are continuous, could be disrupted by commercial or political means. Wind is controlled by no one but cannot be relied on, so electricity generated by wind power is also unreliable. There is no way any country would risk using wind power as a major form of electricity generation. JUST as the headline on Mike Shapland's article (June 8) states, perhaps our water should be compulsorily metered, as it is in Majorca. And as paragraph three begins \"there are plenty of lessons the Brits could learn from Spain\", I take it he means \"Britain\", and that the UK should take lessons from the Spanish. I completely agree - this has been very apparent for several years.

On Saturday next (April 22), four well-known South Mayo men will be doing their bit for charity in a beard-shaving bonanza that will see some faces seeing the light of day for the first time in almost three decades!