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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.
Reid's discussion of black independent films--defined as films that
focus on the black community and that are written, directed,
produced, and distributed by blacks--ranges from the earliest black
involvement at the turn of the century up through the civil rights
movement of the Sixties and the recent resurgence of feminism in
black cultural production. His critical assessment of work by some
black filmmakers such as Spike Lee notes how these films avoid
dramatizations of sexism, homophobia, and classism within the black
community.
In the area of black commercial film controlled by whites, Reid
considers three genres: African-American comedy, black family film,
and black action film. He points out that even when these films use
black writers and directors, a black perspective rarely
surfaces.
Reid's innovative critical approach, which transcends the
"black-image" language of earlier studies--and at the same time
redefines black film--makes an important contribution to film
history. Certain to attract film scholars, this work will also
appeal to anyone interested in African-American and Women's
Studies.
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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