...Courtney R. Baker Recent African American film scholarship has called for an attention to the structures of black representation on screen. This work echoes the calls made in the 1990s by black feminist film and cultural scholars to resist the allure of reading for racial realism and to develop...

... African American music. To unpack these connections, BREAKAWAY is analyzed in the context of two contemporary films in which Basil played significant roles: The T.A.M.I. Show (dir. Steve Binder, US, 1964), a groundbreaking concert film that signaled a new era of on-screen racial integration...

... of these discussions and explore their interrelations, by looking at the film through a history and analysis of cinematic reflexivity. As a metacinematic work both by and about an African American lesbian director, the film has much to say about the means of its own production and, even further, about the way...

... to be shaped by this very difference. Further, through initiatives like the African-American Film Festival Releasing Movement, networks of filmmakers and film enthusiasts from communities historically mis- or underrepresented in film are beginning to shift the constitution of festival audiences and thereby...

... the techniques and tropes of Hollywood melodrama, Anglo-American feminist film criticism provides useful critical frameworks for reading the series, even as such readings necessitate a broadening of the terms of aesthetic and political debates around melodrama and African media, as well as complicate Anglo...

... with con- temporary Black woman filmmaker Cauleen Smith on the importance of avoiding stereotypical depictions of African Americans in film and other forms of visual culture. MacDonald and Smith talk of the heavy burden and responsibility placed on filmmakers by audiences to pro...

... Press,1999. Klotman, Phyllis R., and Janet K. Cutler, eds. Struggles for Representation: African American Documentary Film and Video. Bloomington: Indiana University Press, 1999. 202 07-Books 202-204=3pgs 1/25/01 1:49 PM Page 203...

...Julia Erhart Picturing What If: Julie Dash's Speculative Fiction Julia Erhart The first feature-length film by an African-American woman to gain nationwide critical recognition as well as national theatrical release, Daughters ofthe Dust was already the focus of considerable...

... of mutuality and political contestation rather than a mystified object of horror and abjection. Copyright © 2020 Camera Obscura 2020 horror film apocalypse film African Americans and film deindustrialization the ruin post-Fordism the city Figure 1. Ruinscape. The Road (dir. John Hillcoat, US...

... performance is an African-American superior played by Samuel L. Jackson. This oedipalized coupling perhaps provides us some clue about the address of the masculine posturings that emerge as the central subjects of Tarantino’s films. And it might suggest that the point of address is as important...

... and White, Ken- neth Cameron tracks the overwhelmingly racist representations of sub-­Saharan Africa in British and American cinema by identi- fying trenchant archetypes in fiction and nonfiction films — ­the White Queen, the White Hunter, the Good African, the Dan- gerous African, and so...

... and Haynes holding the Hallelujah! soundtrack suggests the physical link created between African American per- formers and the sound cinema, but that connection was not confined to publicity materials. Like many directors of the silent film era, Vidor was not thrilled by the idea of sound cinema, but he...

... American characters as a major force within the narrative, along with African American actors as a factor in box-office success. These three aspects taken together allow us to engage the disaster/apocalyptic film through a reading of racial melodrama. I propose that it is exactly an “adventure...

... cutting—as studios did in the 1940s when they excised Lena Horne and Hazel Scott from movies in the fear that their dignified and sensual images would offend white southerners—or through appropriation and silence, as when the film makes no mention about Clarence Cain, an African American attorney who...

... as the perpetrator of violence before she dies, unable to stop the hitman she hired. Attributing Nickki’s betrayal to jealousy illustrates the film’s deep mistrust of African American sister-to-sister relationships. While sibling rivalry may function convincingly to sever brothers in the popular gangster...

... circumcision is one of the most problematic and often hotly contended first worldhhird world issues today. In 1993, African American writer Alice Walker and Indian director Pratibha Parmar made a film about female circumcision entitled Warrior Marks. In the book they wrote...

... Image, Reid says, is resilient in its celebration of a pan- African consciousness which is at odds with the sexism and racism of the West. 13 He emphasizes that the film s Pan- Africanism not only critiques US racism and sexism but also the assimilation of Western sexism into African American...

... 1942 case history to the 1962 film script, Kramer further hoped to achieve “greater explosive qualities through the switch” of the analyst’s ethnicity from Jewish to African American.4 Because of this change, the film’s script also is exceptionally revealing of ten...

... to a performativity of race in relationship to the African American characters. Brenda’s character changes, but her racial identity does not. Jasmin overcomes Brenda’s mistrust with two supposedly mutually exclusive skills that the film codes as German: organiza...

... and Parmar forms a compelling and complicated coalition between a US-based writer and cultural figure who has struggled to make a space for African-American women's concerns and a British filmmaker whose family's diaspora includes South Asia and East Africa and who has made a commitment to lesbian...