FINAL TERM PAPER FILM ANALYSISAfter submitting the TERM PAPER Q

FINAL TERM PAPER: FILM ANALYSIS
After submitting the TERM PAPER QUESTIONS assignment
for the film of their choice, due Wednesday, July 20, at 11:59
pm, students will then focus their final review on ONE (1) of
the film options:
· When We Were Kings,
· Afro-Punk: A Documentary,
· Bakoso
· Links to each of these films along with relevant supplemental
materials are available in the "Term Paper Questions" tab in the
Assignments folder.
· The Term Paper Thought Questions are designed to stimulate
critical engagement with one of the films as well as provide a
foundation for the Final Term Paper.
· How would you describe the main characters?
· What are their goals?
· What problems do they face?
· What choices do the characters make?
· What motivates them?
· What are the consequences?
· What do the main characters learn about themselves, and how
do they change? Here is a simple format that you can use as a
template for writing a critical analysis of a film:
· The introduction
· In the introduction section, introduce the key players in the
movies. These can include the producer; the director and the
cinematographer among others depending on the angle that you
intend to take in your analysis. You can also include the main
idea or theme of the movie as well as the thesis statement of
your analysis.
· Summary
· In the summary or film overview section, you outline the
major theme or idea of the film. This involves what, who,
where, when, how, and why. You can also discuss the style,

structure, or viewpoint.
· Provide an explanation for your ideas by citing specific
examples from the film. Additionally, identify the goal of the
film and whether it accomplished it. Your analysis should focus
on determining whether the film is understandable, focused,
interesting, properly concluded, authentic, clear, and meeting its
purpose, among others. Include several slides in the analysis
section with each slide giving a specific idea and supporting it
with evidence from the film.
· What causes the major turning points in the narrative?
· Does the world of the film work like the real world? If not,
what are the differences?
· What does the film say about the nature of human beings?
· What does the film say about society?
· What good insights into life are there in the film? What does it
get wrong? How might it affect viewers?
· Conclusion
· In the conclusion section, end your critical analysis by
restating the thesis statement that you stated in the introduction.
However, use new words. Also, summarize the main ideas that
you discussed in the analysis section using stronger and new
words. End the conclusion with an effective call to action. In
other words, how can the message of your film create social
change?
· How did the film make you feel?
· What aspects worked well, and which didn’t (think about
writing, direction, cinematography, acting, editing, and
soundtrack)?
· To what extent did it fit with your expectations, or did it
subvert them in some ways?
· The conclusion must include a section where you identify with
either the film in general, any of its themes, or a specific
character. This requires you to place yourself within the film
and then describe what about this film resonates with you.
LAYOUT AND DESIGN:A successful essay includes:
· A cover page (not included in page count)

· Title (creative titles get extra credit)
· Your full name and PID
· Professor's name
· Date (semester)
· Course name and section
· A minimum of 750 and a maximum of approximately 1000
words
· this essay should result in four (3) to five (4) pages of written
product
· Double spaced
· Numbered pages (top right-hand margin)
· Times New Roman 12 pt. Font
· Set your margins in your Word document as follows:
· Top margin 1”
· Left margin 1 ½”
· Right margin 1”
· Bottom margin 1 ¼’
· Citation page: (not included in page count)
· last page of the document
When We Were Kings
Part 1
https://online.fiu.edu/videos/?vpvid=67e8cdc1-2271-465b-9f99-
4615c0b59fae
Part 2
https://online.fiu.edu/videos/?vpvid=b8f47436-692e-47c1-b585-
470d3e8fff53
Part 3
https://online.fiu.edu/videos/?vpvid=f3d7040e-d55d-450e-973a-
302b11ef5fad
Analysis of the Documentary Film-When we Were Kings (1996)
Based on analysis of the documentary film "When We Were

Kings (1996)" takes us back to 1974, when Muhammad Ali, 32
years of age, met George Foreman, who was ten years younger
than Muhammad Ali. The duo engaged in a heavy-weight
championship boxing of all time that took place in Kinshasa in
the Democratic Republic of Congo, formally known as Zaire.
Ideally, the event regarded as "The Rumble in the Jungle" is
enshrined as one of the most incredible sports events of the time
and was also cultural and political (Campbell, 2018). Therefore,
this paper aims to review and analyze "When We Were Kings
(1996)" documentary film.
Ideally, based on the review of this film, it introduces us to a
plethora of memorable characters who outline the cultural
importance of "The Rumble in the Jungle." However, the actual
fight is not an afterthought. Additionally, the cultural
perspective in the documentary film is evident in the big fight,
where music festivals featuring big stars such as James Brown,
and Miriam Makeba, among others, took place (Campbell,
2018). Moreover, other aspects of cultural aspects in this film
are seen when Ali states with characteristic grandiosity, “is the
first assembly of the American black man in Africa in the
history of the world.” Notably, racial politics permeated during
the event, but Ali seized it. In commemorating the two boxers,
there are different initiatives such as athletes established such
as athletic and boxing academies. One of such initiatives is
Muhammad Ali Center, which works in collaboration with
Louisville TKO Boxing Gym, which pilot a four-week cohort
based on the initiative "Champions Are Not Made in Gym." This
program primarily supports young teenagers in discovering their
potential in the ring and provides them with the tools for a
successful future in their communities. The same cases apply to
the commemoration of George Foreman, where other trainers
have established various training academies for the community
to benefit.
Based on the article posted by Susan Ryan stating that Ali v.
Foreman fight can be considered discourse on black identity,
this is very true. The statement considers two black men in

America during the American era of racial segregation (When
We Were Kings, n.d). The bold assertion that appears to depict
a contrasting articulation of blackness in the film was
discomforting to whites and blacks. Most whites had no idea
about the Islam culture and its ideology of black separatism;
this challenged almost everything they thought they understood
about African- Americans, which opened a window to the
complexity and diversity of black identity. Based on the
analysis of the film, women and their bodies at large have been
used as an instrument of entertainment, not only by men but the
public at large.
Superlatively, diaspora hybridity and circulation of the black
population with their popular cultures are the primary concepts
evident in the documentary film under consideration. The fact
that this fight was organized and hosted in Zaire, Africa, and
brought on board people from diverse backgrounds and cultures
has affirmed the issue of diaspora hybridity and integration with
the black population. In the review of this film, what I found
compelling was based on the aspect of cultural and political
integration, despite the experience of racial discrimination or
segregation between the black population. This appeared to
reduce the increased discrimination of the time.
References
Campbell, C. (2018). - Documentary Classics: 'When We Were
Kings.' Retrieved on July 8, 2022, from
https://nonfics.com/documentary-classics-when-we-were-kings-
431314ba8adf/
When We Were Kings. (n.d). Part 1. Retrieved from

https://online.fiu.edu/videos/?vpvid=67e8cdc1-2271-465b-9f99-
4615c0b59fae
When We Were Kings. (n.d). Part 2. Retrieved from
https://online.fiu.edu/videos/?vpvid=b8f47436-692e-47c1-b585-
470d3e8fff53
When We Were Kings Part. (n.d). Part 3. Retrieved from
https://online.fiu.edu/videos/?vpvid=f3d7040e-d55d-450e-973a-
302b11ef5fad
Download Document.html 8/16/09 7:52 PM
When We Were Kings.
Ryan, Susan. "When We Were Kings. " Cineaste. 22.n4 (Fall
1996): 54(2). Academic ASAP. Gale. Florida
International University. 16 Aug. 2009
<http://find.galegroup.com.ezproxy.fiu.edu/gtx/infomark.do?&c
ontentSet=IAC-
Documents&type=retrieve&tabID=T003&prodId=AIM&docId=
A19507321&source=gale&srcprod=AIM&userGroupName=flstu
niv&version=1.0>.
Full Text:COPYRIGHT 1996 Cineaste Publishers, Inc.
At a time when Dennis Rodman's outrageous antics dominate
sports coverage, it's easy to forget the origins
of the aggressive 'in your face' interview exchange. Capturing
media attention, however, used to involve
more than just changing hair dye. Leon Gast's When We Were

Kings reminds us of what a unique sports
figure Muhammad Ali was, and still is. This entertaining
documentary shows the boxer at one of the most
celebrated moments in his career, dancing around the press, and
preaching black pride with the same skill
that he once used dancing around the ring.
The film focuses on the 1974 bout between Ali and George
Foreman, the infamous 'rumble in the jungle' in
Kinshasa, Zaire. Narrated by Norman Mailer and George
Plimpton (both writers who attended the fight), as
well as filmmaker Spike Lee, When We Were Kings illuminates
the significance of the fight not only in
boxing history but also as a major cultural event. In addition to
the fight, the promoters organized the "Zaire
'74" concert which featured many of the major black artists of
the day, including James Brown and B.B.
King, among others, most of whom had never been to Africa, let
alone heard of Zaire. Plagued by delays,
chaotic preparations, and the unfamiliarity of working in an
African nation, the documentary recaptures the
excitement of an unparalleled sporting spectacle and its
attendant political ramifications.
The fight was one of the most heavily publicized matches in
boxing history and was expected to draw the
largest television audience ever. At 32, Ali was considered well
past his prime, having suffered losses in
fights against Joe Frazier and Ken Norton. His exile from
boxing, from 1967 to 1970, for refusing induction
into the military and his public stance against the Vietnam war,
removed him from the ring during the height
of his career. His statement, "No Vietnamese ever called me
nigger," made headlines; the government's
relentless persecution of him (after he had already been
disqualified for service for failing the written tests)

was geared to set an example of a public figure who was already
controversial because of his conversion to
Islam. He fought his way back to championship position after a
grueling battle with Joe Frazier in 1973, but
most commentators agreed that his best years as a boxer were
over.
Foreman, on the other hand, had scored a string of thirty-seven
knockouts and had never lost a professional
bout. Rarely had his fights gone beyond three rounds. Cruelly
nicknamed "the mummy" by Ali because he
lacked his competitor's speed and verbal acumen, Foreman's
formidable punching ability was known
throughout boxing.
According to Norman Mailer in The Fight, his book-length
account of this match, boxing is the most vain of
all sports in that men enter the ring to attract admiration. This
narcissistic impulse means that boxers also
run the risk of suffering the worst public humiliation. The
tension makes it more dramatic for the spectator,
as the boxer faces not only potential physical pain, but also the
psychological distress of being beaten up in
front of thousands, or, in this case, millions of viewers.
Nowhere was this more evident than in Zaire. With
Foreman as a three to one favorite, even Ali's staunchest
supporters, including his devoted entourage, feared
that he faced not only defeat, but also severe physical injury.
The drama of the fight even took on an ideological dimension,
as had so many of Ali's fights after the exile
years. Ali's antiwar position and strident black nationalism were
in sharp contrast to Foreman's patriotic
flourishes (after winning in the 1968 Olympics he ran around
the ring waving a flag at a time when other
black athletes were raising their fists in protest). According to

one interview in the film, the contrast
between the two was so pronounced that many in Zaire assumed
before he arrived that Foreman was white.
Clearly, this was a fight that could be 'read' on many levels,
from a pugilistic contest to a discourse on black
identity.
The former Belgian Congo was an unlikely setting for a world-
class boxing match, but one that provided
fertile territory for publicity as masterminded by promoter Don
King. In 1974, King was only four years out
of prison and had just entered the world of big-time boxing. The
fight would do as much to enhance his
career as it did Ali's. One of the fascinations of the film is
watching Don King spin a web of verbiage about
Africa, Ali, and "the return to scintillating glory" around
anyone who will listen, including a dumbfounded
George Plimpton, no slouch with words himself. In terms of
setting up the fight, King convinced Ali and
Foreman to participate for $5 million each, then he needed to
persuade someone to front the $10 million to
file:///Users/jeanrahier/Desktop/Download%20Document.html
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ntentSet=IAC
Download Document.html
put on the show. Military dictator Mobutu Sese Seko saw an
opportunity to focus world attention on Zaire
for reasons other than political turmoil and so offered the sum
out of the country's coffers.

The documentary only touches on Mobutu's more pernicious
side, with snippets of archival footage of
military repression under the opening credits, a brief mention of
his 1960 coup against socialist
independence leader Patrice Lumumba, and Norman Mailer's
recounting of mass executions in the same
stadium where the fight took place. Viewers interested in the
politics of Zaire at the time will have to turn to
William Klein's documentary, Muhammad Ali: The Greatest
(1974), to see a more critical analysis of the
paradox of Ali's warm embrace of Mobutu for sponsoring the
fight at the same time as the dictator was
denying civil rights under military rule to his own people.
The film compellingly shows how the African setting was an
appropriate platform for not only Ali's superb
boxing skills, but also his outspoken views regarding the black
community in America. The poster slogan
"from the slaveship to the championship" (which the Zaire
government later objected to and had retracted)
reinforced the historical resonance of slavery (where bare-
knuckle boxing among slaves was entertainment
for their masters) as did the proclamations of Ali and Don King.
From Ali's fervent pronouncements upon
the greatness of having an all-black airline crew to James
Brown shouting "I am somebody," the film's
expert editing relates Ali's views to a wider cultural statement
about black pride then transforming the
country. The accompanying concert may have been a bust in
terms of organization and attendance, but the
footage of performers Brown, B.B. King, and Miriam Makeba in
counterpoint to the fight and pre-fight
hype is skillfully juxtaposed for maximum associative effect.
Boxing aficionados will find much to appreciate in the coverage

of the fight itself, which has often been
represented through photographs in other films. Instead of using
a much publicized strategy of dancing
around the ring to tire Foreman out, Ali shocked spectators by
taking to the ropes - the famous 'rope-a-dope'
maneuver - and absorbed Foreman's devastating blows. By the
eighth round the tactical switch had worked,
as an exhausted Foreman was felled by a knockout blow to the
head. The utter amazement of the moment is
forcefully captured by a still of Mailer and Plimpton with
mouths agape as Foreman falls to the canvas.
Ali's "shock to the world" ten years before, in upsetting Sonny
Liston, suddenly paled in comparison to
beating Foreman.
Due to financial and legal problems, it took twenty-three years
to bring this feature-length recounting of
"the rumble in the jungle" to the screen, but the delay has only
served to enrich its historical perspective.
Hollywood director Taylor Hackford's addition of more
interview material, which is at times gratuitous, may
enlighten those who are unfamiliar with the event, or with Ali.
The real power of the film, however, comes
from the verite footage of the pre-fight hype, Ali's public
persona, and the creative editing. The intense
scenes of musicians in performance add to the overall feeling of
spectacle, as well as broaden the appeal for
viewers not particularly interested in boxing.
Ali was a sportswriter's dream, as When We Were Kings
convincingly shows: funny, articulate, always
unpredictable. In a sport dominated by brawn, he was a quick-
witted provocateur, whether playfully
verbally sparring with sports commentator Howard Cosell or
arrogantly berating his sullen and taciturn
opponents. George Foreman, in contrast, comes across as a

person entirely different from the affable
promoter of hamburgers that he is today. Reserved and
overwhelmed by Ali's verbal barrages, it's
understandable why he went into a two-year depression and
later left boxing for years after his unexpected
thrashing in Zaire.
Although overly reverential at times (the montage of
photographs of Ali at various points in his career gets
a bit saccharine), When We Were Kings is really a poignant
tribute to Ali which recognizes his political
significance in addition to his contributions to boxing. While
one could take issue with the fighter's politics
in later years (his support for George Bush and Orrin Hatch, for
example), in the Seventies he had the
courage to use his position as a professional boxer to speak out
on controversial issues at a risk to his own
career. As When We Were Kings eloquently suggests, there
have been other great boxers but there has
never been another Ali.
- Susan Ryan
Susan Ryan teaches film studies at New York University and the
College of Staten Island (CUNY).
Gale Document Number:A19507321
8/16/09 7:52 PM
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($)SAGE
International Review for the
Sociology of Sport
http://irs.sagepub.com
AUDIO-VISUAL REVIEW
Ben Carrington
International Review for the Sociology of Sport 1998; 33; 75
DOI: 10.1177/101269098033001006
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INTERNATIONAL REVIEW FOR THE SOCIOLOGY OF
SPORT JJ/1(1998) 75-81
© Copyright ISSA and SAGE Publications (London, Thousand
Oaks, CA, New Delhi)
[IO 12-6902 ( 199803) 33: I ;75-81; 002843]
AUDIO-VISUAL REVIEW

75
When We Were Kings. Produced by David Sonenberg, Leon
Gast and Taylor
Hackford; directed by Leon Gast; cinematography by Maryse
Alberti, Paul
Goldsmith, Kevin Keating, Albert Maysles and Roderick Young;
edited by Leon
Gast, Taylor Hackford, Jeffrey Levy-Hinte and Keith Robinson;
color, 90
minutes. A Gramercy Pictures release.
reviewed by Ben Carrington
Chelsea School, University of Brighton, UK
When We Were Kings is an important yet problematic film
which purports to be
about the 1974 World Heavyweight Championship clash in
Zaire between
Muhammad Ali and George Foreman, but is in reality a mini
bio-pic of the
former. The film is funny, inspiring, and frustrating in almost
equal measure, but
despite its problems does powerfully show the intelligence and
beauty of Ali.
I watched the film on its opening in Brixton, the spiritual home
of black
Britain, and my experience highlighted some of the film's
ambiguities. To many
of the young blacks in the packed theatre, Ali was clearly 'their
man' - perhaps
the ultimate symbol of black pride and resistance, embodying a
majestic and fear-
less form of black physicality. As Spike Lee accurately notes in
the film, 'Ali was

a beautiful specimen, a fighting machine. He was handsome, he
was articulate, he
was funny, charismatic and he was whupping ass too!'
Twice during the film the novelist Norman Mailer suggests that
Ali was
frightened of Foreman. At these points a few people shouted at
the screen, telling
Mailer to 'Shut the fuck up!' From that moment, Mailer and the
other white
voices were seen as partial impostors; here was their man (and
by implication
themselves), almost immortal in his presence, being described
as scared. As the
fight comes to its climax, Mailer is again inserted at a crucial
point, breaking the
visual flow, to provide the definitive account of what is
occurring. For one young
black man in the audience this was too much and he shouted
out, 'What the hell
does this old white man know? Fucking white idiot!', which he
repeated when
Mailer reappeared again at the film's end.
As the credits rolled, a white man and the black man stood face-
to-face,
apparently ready to fight over the incident. By the time I had
left the cinema they
were outside. The young white man had called the bluff of the
black guy, who
was obviously not expecting any white man (in Brixton!) to
challenge his public

from the SAGE Social Science Collections. All Rights
Reserved.
76 INTERNATIONAL REVIEW FOR THE SOCIOLOGY OF
SPORT 33( I)
pronouncements on racism, and was clearly not going to fight
with only his
embarrassed girlfriend by his side. Most of the audience,
seemingly dismayed by
the affair, walked quickly away into the night, shaking their
heads at the episode.
How can we begin to understand such reactions? The reasons
are obviously
complex, but part of the answer undoubtedly lay in some of the
problems with the
film's structure. Thomas Hauser (Ali's biographer), Norman
Mailer, and the
journalist George Plimpton, all provide the (white)
'authoritative voices', mean-
ing that Ali's diasporic significance as a politicized black
athlete seems to be lost
- it is almost as if no black voice was capable of comprehending
Ali's signifi-
cance. We rarely get to see what Ali meant to blacks in Africa,
or elsewhere for
that matter, and the weight given to Zairean and other African
voices in the film
is negligible. You can almost see the film-makers' response to
this as they insert
one Zairean voice (Malik Bowens) and add, most curiously,
statements from

Spike Lee, to avoid the charge that this is simply a white male
view of Ali.
The misrepresentation of Ali's revolutionary black political
stances is high-
lighted by quotes from two of these speakers. Lee states that
one of the problems
with Ali's legacy is that young blacks do not know who he is.
This is rubbish. Ali
is well known throughout the black diaspora, but it is his
political significance
that is often misunderstood, and which the film ultimately fails
to come to terms
with. Absent from the film is Ali's (admittedly, not always
consistent but never-
theless real) critique of capitalism as part of his advocacy of
third world politics.
The biggest danger today is not cultural amnesia about Ali and
others, but the
deliberate down-playing of their simultaneous critiques of
colonialism and
capitalism. The irony, of course, is that it is Lee himself who
has done most to
promote such distortions through his own films and
endorsements for firms like
NIKE!
Perhaps, though, the most misleading moment comes from
Mailer. The film
ends with a story of Ali meeting Mailer and his wife a few years
after the fight.
As Mailer goes off to the toilet, Ali apparently makes a pass at
his wife. The
delighted Mailer recounts this story as a defining moment of
what Ali meant and
says 'For me that's Ali, you can't even turn your back on him!'

Ali's significance
is not captured by his ability to sleep with the wives of ageing
white American
male novelists! This may be how the white male imaginary
would like to con-
struct - or contain - Ali, as the super-Negro, able to fight and
fuck. But to
reduce Ali's role to this sexualized stereotype is reprehensible,
and tells us more
about the film-makers' (and Mailer's) perceptions of Ali, than
about the man
himself.
Further, Leon Gast, the director, appears to have had no idea of
what to do
with the (lack of) female presence in this homosocial space of
sport, except to use
images of exotic and dangerous black femininity to provide the
context for
Africa. The only major female character is the 'witch doctor'
who appears at
the beginning, middle and end of the film, chanting various
'African curses'
(she was supposed to have put a spell on Foreman to lose the
fight). With the
exception of a brief appearance by Ali's mother, the only other
significant black
female figures are members of James Brown's dance troupe, one
of whom
eventually bares her breasts to camera. You do not need to be an
expert semio-
tician or feminist to spot the reinscription of profoundly racist
and sexist stereo-

AUDIO-VISUAL REVIEW 77
types about over-sexualized, and ultimately destructive, black
females. This
aspect of the film is deeply disturbing.
Another central problem is that the film fails to track Ali's
political transition
from the separatist teachings of The Nation oflslam to his more
sophisticated and
holistic understanding of Islam. In this sense it falls into many
of the same traps
as Lee's film Malcolm X, allowing a black conservative
appropriation of Ali,
while at the same time doing little to challenge, and indeed
change, white mis-
conceptions about black masculinity and racism (Boyd, 1997) .
Thus, Ali, as the
mass-mediated icon, ultimately becomes distanced from the
seriousness of his
messages about black liberation and is able to be consumed by
white audiences
who can feel safe with the non-threatening, almost minstrel-
like, Ali re-present-
ed to them (Boyd, 1997; McKay, 1995; Sabo and Curry Jansen,
1992; Wilson,
1997).
This reading of the film, however, may be accused of
underplaying the
centrality of ambivalence to the complex processes of
representation, identity and

meaning and the extent to which individuals renegotiate how
they are inter-
pellated. It might be possible to argue that the reactions of the
young men in the
audience that night were an attempt to reconcile their different
readings of the
film by, literally, trying to silence each other's voices.
The film throws up a whole series of important questions about
the capitalist
commodification of, and white (male) fascination with, black
culture; issues
surrounding racialized masculinity and nationalism; and the
position of sports
within black resistance. As such, When We Were Kings is one
of the most impor-
tant films of recent times and deserves to be analysed critically
by students and
scholars alike in the hope that Ali's historical and contemporary
significance may
at last be rediscovered.
References
Boyd, T. (1997) Am I Black Enough For You? Popular Culture
From the 'Hood and Beyond.
Bloomington: University of Indiana Press.
McKay, J. (1995) '"Just Do it": Corporate Sports Slogans and
the Political Economy of "Enlightened
Racism"', Discourse: Studies in the Cultural Politics of
Education 16: 191-201.
Sabo, D. and Curry Jansen, S. (1992) 'Images of Men in Sport
Media: The Social Reproduction of
the Gender Order', in S. Craig (ed.) Men, Masculinity, and the

Media. Thousand Oaks, CA:
Sage.
Wilson, B. (1997) '"Good Blacks" and "Bad Blacks": Media
Constructions of African-American
Athletes in Canadian Basketball' ,International Review for the
Sociology of Sport 32(2): 177-89.
AUDIO-VISUAL REVIEW (continued)
reviewed by Scott A.G. M. Crawford
College of Education and Professional Studies, Eastern Illinois
University, USA
I watched When We Were Kings the same week that the tortured
front cover of
Sports Illustrated labeled boxer Mike Tyson a 'madma n' and
'crazed'. One could
not have conceived of a Muhammad Ali ever sinking to a level
of being headlined

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FINAL TERM PAPER FILM ANALYSISAfter submitting the TERM PAPER Q