![]() Three Voices Inside (Everything Is Everything): Deep Cover and Modalities of Noir Blacknessįour Black Maybe: Medicine for Melancholy, Place, and Two Smiling Faces: Chameleon Street and Black Performativity One Reckless Eyeballing: Coonskin and the Racial Grotesque My everythings.Īcknowledgments Introduction We Insist: The Idea of Black Film Collection of Peter Norton.įor Nathaniel and Benjamin. paper) isbn 9780822373889 (ebook) Subjects: lcsh: African Americans in motion pictures. | Includes bibliographical references and index. Description: Durham : Duke University Press, 2016. Title: Film blackness : American cinema and the idea of black film / Michael Boyce Gillespie. ![]() © 2016 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Heather Hensley Typeset in Garamond Premier Pro by Graphic Composition, Inc., Bogart, Georgia Library of Congress Cataloging-in-Publication Data Names: Gillespie, Michael Boyce, author. While Film Blackness is specifically pitched to existing conversations in film and media studies, the discursivity of blackness Gillespie articulates has far-ranging implications to black cultural production across media." - Iggy Cortez, ASAP JournalįILM BLACKNESS American Cinema and the Idea of Black Film "Gillespie calibrates a series of agile and fine-grained analyses that draw upon a breadth of disciplines and methods encompassing film historiography, critical geography, debates in black film theory, questions of genre and narratology, performativity, and the business of film distribution. Upper-division undergraduates through professionals." "This astonishingly comprehensive, compact book does nothing less than synthesize nearly the entirety of thought to date on black cinema, blackness in the cinema, and scholarship in this vital area of film studies. Michael Boyce Gillespie is Associate Professor of Film in the Department of Media and Communication Arts and the Black Studies Program at the City College of New York, City University of New York. ![]() 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. 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). Gillespie discusses the racial grotesque in Ralph Bakshi's Coonskin (1975), black performativity in Wendell B. 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 challenges expectations that black film can or should represent the reality of black life or provide answers to social problems. 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. ![]()
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