The 1960s black student movement at Duke University evolved into a separate institution to study and engage with the history and culture of the African diaspora. This film was produced for the National Educational Television (WNET) Black Journal.

The film begins with 'New Dawn Fades'. Audio of speeches of Hitler are played alongside interviews of Chief Constable of Manchester. Montages of photographs, adverts and Manchester street scenes. Part of a Joy Division performance at Bowdon Vale and a rehearsal are shown. (Film only available in fragments)

Brother Minister reveals the mystery surrounding the assassination of Malcolm X at the Audubon Ballroom in New York City on February 21, 1965. It probes the innocence of two of the ...

Amtrak takes MR's Allen Keller to the Dallas Union Station in search of Malcolm. The Denver & Rio Chama Western is Malcolm's dream come true. Distressing, scraping, sanding, painting, and staining make wood look old and weatherd. Malcolm makes plastic into a wood look-alike. "Dirt Dipping" is just one of his secrets for transforming styrene into metal. Acid take some of the metal away, but leaves the paint. Malcolm busts up the masonry with a hammer after he stains and paints it. Malcolm lavishes his skills on a plastic structure kit. The result is a display of combined techniques. Pastel chalks, airbrushing, and "Dirt Dipping" make cars look realistic. Thee romance of the steam locomotive and an old-timer capture Malcolm and his attention. Out of the box the engine needs help. Malcolm adds his artistry with chalks, hand brush, and airbrush. Malcolm and Allen have fun operating trains through the beautiful scenery of the San Juan Central.

One was a Black human rights leader who had achieved global notoriety. The other was a young Marxist Oxford student from Pakistan looking to bring radical change to the British establishment. When they met in December 1964, Malcolm X's life of activism was about to come to a tragic end, but Tariq Ali's journey was just beginning. This is the story of a brief but impactful friendship that, 50 years later, still ripples through England today, told by Ali, civil rights historians, and rarely seen footage of Malcolm X's overseas visit.

“It’s not a natural desire to be a modern artist”. Malcolm Morley In 1984, Malcolm Morley was the first winner of the Tate Gallery’s prestigious award, the Turner Prize, for the year’s major contribution to British art. It came as something of a surprise because he has always been, by his own volition, an outsider who remains aloof from the art world. Since 1957, he has lived a reclusive life in America and harbours ambivalent feelings about his native Britain. Characteristically, he was not there to collect his £10,000 prize. It is impossible to label him as a painter, as he has always avoided association with the schools and styles of contemporary art, though he seems to have pioneered many of them. Art critic Robert Hughes calls him, “the man whose methods have been relentlessly plundered by a generation of artists.” This programme looks at Morley and his work. He talks at length about his art and is seen at work in his New York studio.

A collection of Malcolm Douglas' journeys across Australia alongside the Aborigines and nature over a span of 40 years.

"This installation or performance work puts my own earlier film of the Mona Lisa (1973) through another stage of transformation – my own irretrievable self of some 34 years ago is now also part of the subject I first saw the ‘actual’ ‘Mona Lisa’ when I was about thirteen. Of course I had seen dozens of reproductions in books and postcards by then and the popular mythology of the enigmatic smile was already well engrained in my mind. My strongest impression, as I recall, was how small and unsurprising it was – a heavily protected cultural icon – no longer really a picture – and I was much more excited by the painting of the distant landscape than by the face. My own ‘version’ of ‘la Giaconda’ was never an homage, nor like Marcel Duchamp’s ‘L.H.O.O.Q’, an attack on its cultural power. Instead it came from a fascination with change and transformation – maybe also with arbitrary appropriation." Malcolm Le Grice