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Afrocentric feminism

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Journal Article
Camera Obscura (2020) 35 (2 (104)): 125–157.
Published: 01 September 2020
... World : Afrocentric Feminisms of the LA Rebellion Jamie Ann Rogers Camera Obscura 104, Volume 35, Number 2 doi 10.1215/02705346-8359552 © 2020 by Camera Obscura Published by Duke University Press 125 126 Camera Obscura each of which, the film suggests, are constituting forces of Black life...
Journal Article
Camera Obscura (1990) 8 (2 (23)): 108–131.
Published: 01 May 1990
... are in many ways just “one of the boys.” Since they are as tough as male rappers, women rappers fit into George’s mind-boggling yet emblem- atic definition of rap as an ccultra-urban, unromantic, hyperrealistic, neo-nationalist, antiassimilationist, aggressive Afrocentric impulse.” For George...
Journal Article
Camera Obscura (1995) 12 (3 (36)): 134–153.
Published: 01 September 1995
... States. For example, Gilroy points out that Aretha 140 Franklin’s 1972 Amazing Grace cover captures her wearing traditional African garb. In this representation, Africa symbolizes nature and goodness in opposition to America’s artificiality and corruption. Afrocentrism...
Journal Article
Camera Obscura (2022) 37 (1 (109)): 61–89.
Published: 01 May 2022
... , 48. 19. Patricia White, Women's Cinema, World Cinema: Projecting Contemporary Feminisms (Durham, NC: Duke University Press, 2015), 34. 18. Ellis, Territories of the Soul , 3. 17. Brinkema, “A Mother Is a Form of Time,” 5. 16. Eugenie Brinkema, “A Mother Is a Form...
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Journal Article
Camera Obscura (2008) 23 (3 (69)): 35–79.
Published: 01 December 2008
... idiom of venues such as the Moulin Rouge and the Folies Bergère would favor what might be called the “zoological.”10 Racial- ized and feminized nudity in turn serves as a primary conceit in this visual vocabulary emerging from European primitivism. The simul- taneously scientific and prurient...
Journal Article
Camera Obscura (1996) 13 (2 (38)): 116–131.
Published: 01 May 1996
... and Sound 3.9 (September 1993): 20-22; Baker 151. A number of reviews have focussed on the film's formal afrocentricity; see Valerie Boyd, Review of Daughters ofthe Dust, American Visions 6.1 (February 1991): 46-48; Patricia Mellencamp, "Making History: Julie Dash," Frontiers 15.1 (1994...