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Black Lenses, Black Voices is a provocative look at films directed and written_and sometimes produced_by African Americans, as well as black-oriented films whose directors or screenwriters are not black. Mark Reid shows how certain films dramatize the contemporary African American community as a politically and economically diverse group, vastly different from film representations of the 1960s. Taking us through the development of African American independent filmmaking before and after World War II, he then illustrates the unique nature of African American family, action, horror, female-centered, and independent films, such as Eve's Bayou, Jungle Fever, Shaft, Souls of Sin, Bones, Waiting to Exhale, Monster's Ball, Sankofa, and many more.
Employs an interdisciplinary critical approach to discuss a selected group of black-oriented films. African American Cinema through Black Lives Consciousness uses critical race theory to discuss American films that embrace contemporary issues of race, sexuality, class, and gender. Its linear history chronicles black-oriented narrative film from post-World War II through the presidential administration of Barack Obama. Editor Mark A. Reid has assembled a stellar list of contributors who approach their film analyses as an intersectional practice that combines queer theory, feminism/womanism, and class analytical strategies alongside conventional film history and theory. Taken together, the essays invigorate a ""Black Lives Consciousness,"" which speaks to the value of black bodies that might be traumatized and those bodies that are coming into being-ness through intersectional theoretical analysis and everyday activism. The volume includes essays such as Gerald R. Butters's, ""Blaxploitation Film,"" which charts the genre and its uses of violence, sex, and misogyny to provoke a realization of other philosophical and sociopolitical themes that concern intersectional praxis. Dan Flory's ""African-American Film Noir"" explains the intertextual-fictional and socio-ecological-dynamics of black action films. Melba J. Boyd's essay, ""Who's that Nigga on that Nag"": Django Unchained and the Return of the Blaxploitation Hero"", argues that the film provides cultural and historical insight, ""signifi es"" on blackface stereotypes and chastises Hollywood cinema's misrepresentation of slavery. African American Cinema through Black Lives Consciousness embraces varied social experiences within a cinematic Black Lives Consciousness intersectionality. The interdisciplinary quality of the anthology makes it approachable to students and scholars of fields ranging from film to culture to African American studies alike.
Employs an interdisciplinary critical approach to discuss a selected group of black-oriented films. African American Cinema through Black Lives Consciousness uses critical race theory to discuss American films that embrace contemporary issues of race, sexuality, class, and gender. Its linear history chronicles black-oriented narrative film from post-World War II through the presidential administration of Barack Obama. Editor Mark A. Reid has assembled a stellar list of contributors who approach their film analyses as an intersectional practice that combines queer theory, feminism/womanism, and class analytical strategies alongside conventional film history and theory. Taken together, the essays invigorate a ""Black Lives Consciousness,"" which speaks to the value of black bodies that might be traumatized and those bodies that are coming into being-ness through intersectional theoretical analysis and everyday activism. The volume includes essays such as Gerald R. Butters's, ""Blaxploitation Film,"" which charts the genre and its uses of violence, sex, and misogyny to provoke a realization of other philosophical and sociopolitical themes that concern intersectional praxis. Dan Flory's ""African-American Film Noir"" explains the intertextual-fictional and socio-ecological-dynamics of black action films. Melba J. Boyd's essay, ""Who's that Nigga on that Nag"": Django Unchained and the Return of the Blaxploitation Hero"", argues that the film provides cultural and historical insight, ""signifi es"" on blackface stereotypes and chastises Hollywood cinema's misrepresentation of slavery. African American Cinema through Black Lives Consciousness embraces varied social experiences within a cinematic Black Lives Consciousness intersectionality. The interdisciplinary quality of the anthology makes it approachable to students and scholars of fields ranging from film to culture to African American studies alike.
Can films about black characters, produced by white filmmakers, be
considered "black films"? In answering this question, Mark Reid
reassesses black film history, carefully distinguishing between
films controlled by blacks and films that utilize black talent, but
are controlled by whites. Previous black film criticism has
"buried" the true black film industry, Reid says, by concentrating
on films that are about, but not by, blacks.
Spike Lee's Do the Right Thing brings together essays, specially written for this edition, that analyse this controversial film from a variety of methodological perspectives. Among the issues examined in this volume are the production history of the film, the use of music, and the urban sociology of New York in the 1980s. Collectively, these essays connect the inter-racial strife of New York as treated in Do the Right Thing with the contemporary social climate and racism in America. Also included are reviews of the film by influential critics, a large selection of production stills, and a complete bibliography.
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