Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the intensity of social and political upheaval during a volatile period in American history. Based on Sam Greenlee's novel by the same name, the film is a searing portrayal of an American Black underclass brought to the brink of revolution. This series of critical essays situates the film in its social, political, and cinematic contexts and presents a wealth of related materials, including an extensive interview with Sam Greenlee, the original United Artists' press kit, numerous stills from the film, and the original screenplay. This fascinating examination of a revolutionary work foregrounds issues of race, class, and social inequality that continue to incite protests and drive political debate.

For over a decade, Tyler Perry has been a lightning rod for both criticism and praise. To some he is most widely known for his drag performances as Madea, a self-proclaimed ""mad black woman,"" not afraid to brandish a gun or a scalding pot of grits. But to others who watch the film industry, he is the businessman who by age thirty-six had sold more than $100 million in tickets, $30 million in videos, $20 million in merchandise, and was producing 300 projects each year viewed by 35,000 every week. Is the commercially successful African American actor, director, screenwriter, playwright, and producer ""malt liquor for the masses,"" an ""embarrassment to the race!,"" or is he a genius who has directed the most culturally significant American melodramas since Douglas Sirk? Are his films and television shows even melodramas, or are they conservative Christian diatribes, cheeky camp, or social satires? Do Perry's flattened narratives and character tropes irresponsibly collapse important social discourses into one-dimensional tales that affirm the notion of a ""post-racial"" society?In light of these debates, From Madea to Media Mogul makes the argument that Tyler Perry must be understood as a figure at the nexus of converging factors, cultural events, and historical traditions. Contributors demonstrate how a critical engagement with Perry's work and media practices highlights a need for studies to grapple with developing theories and methods on disreputable media. These essays challenge value-judgment criticisms and offer new insights on the industrial and formal qualities of Perry's work.

Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the intensity of social and political upheaval during a volatile period in American history. Based on Sam Greenlee's novel by the same name, the film is a searing portrayal of an American Black underclass brought to the brink of revolution. This series of critical essays situates the film in its social, political, and cinematic contexts and presents a wealth of related materials, including an extensive interview with Sam Greenlee, the original United Artists' press kit, numerous stills from the film, and the original screenplay. This fascinating examination of a revolutionary work foregrounds issues of race, class, and social inequality that continue to incite protests and drive political debate.

Sporting Blackness examines issues of race and representation in sports films, exploring what it means to embody, perform, play out, and contest blackness by representations of Black athletes on screen. By presenting new critical terms, Sheppard analyzes not only "skin in the game," or how racial representation shapes the genre's imagery, but also "skin in the genre," or the formal consequences of blackness on the sport film genre's modes, codes, and conventions. Through a rich interdisciplinary approach, Sheppard argues that representations of Black sporting bodies contain "critical muscle memories": embodied, kinesthetic, and cinematic histories that go beyond a film's plot to index, circulate, and reproduce broader narratives about Black sporting and non-sporting experiences in American society.

Sporting Blackness examines issues of race and representation in sports films, exploring what it means to embody, perform, play out, and contest blackness by representations of Black athletes on screen. By presenting new critical terms, Sheppard analyzes not only "skin in the game," or how racial representation shapes the genre's imagery, but also "skin in the genre," or the formal consequences of blackness on the sport film genre's modes, codes, and conventions. Through a rich interdisciplinary approach, Sheppard argues that representations of Black sporting bodies contain "critical muscle memories": embodied, kinesthetic, and cinematic histories that go beyond a film's plot to index, circulate, and reproduce broader narratives about Black sporting and non-sporting experiences in American society.

Despite the increasing number of popular and celebrated sports documentaries in contemporary culture, such as ESPN's 30 for 30 series, there has been little scholarly engagement with this genre. Sports documentaries, like all films, do not merely showcase objective reality but rather construct specific versions of sporting culture that serve distinct economic, industrial, institutional, historical, and sociopolitical ends ripe for criticism, contextualization, and exploration. Sporting Realities brings together a diverse group of scholars to probe the sports documentary's cultural meanings, aesthetic practices, industrial and commercial dimensions, and political contours across historical, social, medium-specific, and geographic contexts. It considers and critiques the sports documentary's visible and powerful position in contemporary culture and forges novel connections between the study of nonfiction media and sport.

Despite the increasing number of popular and celebrated sports documentaries in contemporary culture, such as ESPN’s 30 for 30 series, there has been little scholarly engagement with this genre. Sports documentaries, like all films, do not merely showcase objective reality but rather construct specific versions of sporting culture that serve distinct economic, industrial, institutional, historical, and sociopolitical ends ripe for criticism, contextualization, and exploration. Sporting Realities brings together a diverse group of scholars to probe the sports documentary’s cultural meanings, aesthetic practices, industrial and commercial dimensions, and political contours across historical, social, medium-specific, and geographic contexts. It considers and critiques the sports documentary’s visible and powerful position in contemporary culture and forges novel connections between the study of nonfiction media and sport.  

For over a decade, Tyler Perry has been a lightning rod for both criticism and praise. To some he is most widely known for his drag performances as Madea, a self-proclaimed ""mad black woman,"" not afraid to brandish a gun or a scalding pot of grits. But to others who watch the film industry, he is the businessman who by age thirty-six had sold more than $100 million in tickets, $30 million in videos, $20 million in merchandise, and was producing 300 projects each year viewed by 35,000 every week. Is the commercially successful African American actor, director, screenwriter, playwright, and producer ""malt liquor for the masses,"" an ""embarrassment to the race!,"" or is he a genius who has directed the most culturally significant American melodramas since Douglas Sirk? Are his films and television shows even melodramas, or are they conservative Christian diatribes, cheeky camp, or social satires? Do Perry's flattened narratives and character tropes irresponsibly collapse important social discourses into one-dimensional tales that affirm the notion of a ""post-racial"" society? In light of these debates, From Madea to Media Mogul makes the argument that Tyler Perry must be understood as a figure at the nexus of converging factors, cultural events, and historical traditions. Contributors demonstrate how a critical engagement with Perry's work and media practices highlights a need for studies to grapple with developing theories and methods on disreputable media. These essays challenge value-judgment criticisms and offer new insights on the industrial and formal qualities of Perry's work.