Film Blackness: American Cinema and the Idea of Black Film
In Film Blackness Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race. Gillespie challenges expectations that black...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2016]
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| Schlagworte: | |
| Online-Zugang: | FAB01 FAW01 FHA01 FKE01 FLA01 UBG01 UBT01 UPA01 FCO01 Volltext |
| Zusammenfassung: | In Film Blackness Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race. Gillespie challenges expectations that black film can or should represent the reality of black life or provide answers to social problems. Instead, he frames black film alongside literature, music, art, photography, and new media, treating it as an interdisciplinary form that enacts black visual and expressive culture. Gillespie discusses the racial grotesque in Ralph Bakshi's Coonskin (1975), black performativity in Wendell B. Harris Jr.'s Chameleon Street (1989), blackness and noir in Bill Duke's Deep Cover (1992), and how place and desire impact blackness in Barry Jenkins's Medicine for Melancholy (2008). Considering how each film represents a distinct conception of the relationship between race and cinema, Gillespie recasts the idea of black film and poses new paradigms for genre, narrative, aesthetics, historiography, and intertextuality |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) |
| Beschreibung: | 1 online resource (248 pages) 50 illustrations |
| ISBN: | 9780822373889 |
| DOI: | 10.1515/9780822373889 |
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| 520 | |a In Film Blackness Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race. Gillespie challenges expectations that black film can or should represent the reality of black life or provide answers to social problems. Instead, he frames black film alongside literature, music, art, photography, and new media, treating it as an interdisciplinary form that enacts black visual and expressive culture. Gillespie discusses the racial grotesque in Ralph Bakshi's Coonskin (1975), black performativity in Wendell B. Harris Jr.'s Chameleon Street (1989), blackness and noir in Bill Duke's Deep Cover (1992), and how place and desire impact blackness in Barry Jenkins's Medicine for Melancholy (2008). Considering how each film represents a distinct conception of the relationship between race and cinema, Gillespie recasts the idea of black film and poses new paradigms for genre, narrative, aesthetics, historiography, and intertextuality | ||
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Datensatz im Suchindex
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| indexdate | 2024-07-10T09:01:06Z |
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| isbn | 9780822373889 |
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| spelling | Gillespie, Michael Boyce Verfasser aut Film Blackness American Cinema and the Idea of Black Film Michael Boyce Gillespie Durham Duke University Press [2016] © 2016 1 online resource (248 pages) 50 illustrations txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) In Film Blackness Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race. Gillespie challenges expectations that black film can or should represent the reality of black life or provide answers to social problems. Instead, he frames black film alongside literature, music, art, photography, and new media, treating it as an interdisciplinary form that enacts black visual and expressive culture. Gillespie discusses the racial grotesque in Ralph Bakshi's Coonskin (1975), black performativity in Wendell B. Harris Jr.'s Chameleon Street (1989), blackness and noir in Bill Duke's Deep Cover (1992), and how place and desire impact blackness in Barry Jenkins's Medicine for Melancholy (2008). Considering how each film represents a distinct conception of the relationship between race and cinema, Gillespie recasts the idea of black film and poses new paradigms for genre, narrative, aesthetics, historiography, and intertextuality In English PERFORMING ARTS / Film & Video / History & Criticism bisacsh African Americans in motion pictures Motion picture industry United States Race films Race in motion pictures https://doi.org/10.1515/9780822373889 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Gillespie, Michael Boyce Film Blackness American Cinema and the Idea of Black Film PERFORMING ARTS / Film & Video / History & Criticism bisacsh African Americans in motion pictures Motion picture industry United States Race films Race in motion pictures |
| title | Film Blackness American Cinema and the Idea of Black Film |
| title_auth | Film Blackness American Cinema and the Idea of Black Film |
| title_exact_search | Film Blackness American Cinema and the Idea of Black Film |
| title_exact_search_txtP | Film Blackness American Cinema and the Idea of Black Film |
| title_full | Film Blackness American Cinema and the Idea of Black Film Michael Boyce Gillespie |
| title_fullStr | Film Blackness American Cinema and the Idea of Black Film Michael Boyce Gillespie |
| title_full_unstemmed | Film Blackness American Cinema and the Idea of Black Film Michael Boyce Gillespie |
| title_short | Film Blackness |
| title_sort | film blackness american cinema and the idea of black film |
| title_sub | American Cinema and the Idea of Black Film |
| topic | PERFORMING ARTS / Film & Video / History & Criticism bisacsh African Americans in motion pictures Motion picture industry United States Race films Race in motion pictures |
| topic_facet | PERFORMING ARTS / Film & Video / History & Criticism African Americans in motion pictures Motion picture industry United States Race films Race in motion pictures |
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