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...
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| Language: | English |
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Durham :
Duke University Press,
2016
Durham ; London : 2016 |
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| 100 | 1 | |a Gillespie, Michael Boyce, |d 1969- |e author |1 http://viaf.org/viaf/1850145857167522922971 | |
| 100 | 1 | |a Gillespie, Michael Boyce, |d 1969- |e author |4 http://id.loc.gov/vocabulary/relators/aut | |
| 100 | 1 | |a Gillespie, Michael Boyce, |d 1969- |e author | |
| 245 | 1 | 0 | |a Film blackness : |b American cinema and the idea of black film / |c Michael Boyce Gillespie |
| 246 | 3 | 0 | |a American cinema and the idea of black film |
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| 264 | 1 | |a Durham : |b Duke University Press, |c 2016 | |
| 264 | 1 | |a Durham ; |a London : |b Duke University Press, |c 2016 | |
| 264 | 4 | |c ©2016 | |
| 300 | |a xi, 231 pages : |b illustrations ; |c 23 cm | ||
| 300 | |a xi, 231 pages : |b illustrations ; |c 24 cm | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 504 | |a Includes bibliographical references (pages 157-222) and index | ||
| 504 | |a Includes bibliographical references and index | ||
| 505 | 0 | |a Introduction : We insist: the idea of black film -- Reckless eyeballing: Coonskin and the racial grotesque -- Smiling faces: Chameleon street and Black performativity -- Voices inside (everything is everything): Deep cover and modalities of noir blackness -- Black maybe: Medicine for melancholy, place, and quiet becoming -- Coda : Destination out | |
| 505 | 0 | |a Introduction. We insist: the idea of black film -- Reckless eyeballing : coonskin and the racial grotesque -- Smiling faces : Chameleon street and Black performativity -- Voices inside (everything is everything) : deep cover and modalities of noir blackness -- Black maybe : medicine for melancholy, place, and quiet becoming -- Coda. Destination out | |
| 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. Book jacket | ||
| 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." -- Publisher's description | ||
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