MARC Record from marc_columbia

LEADER: 05422cam a2200541 i 4500
001 13719094
005 20200109090114.0
008 180306t20192019miuac b 001 0 eng d
010 $a 2018946464
024 $a99982729823
024 $a40028840074
035 $a(OCoLC)on1026605960
040 $aYDX$beng$erda$cDLC$dOCLCO$dWEA$dUKMGB$dOCL$dCHVBK$dOCLCO$dL2U$dOMB
019 $a1027067541$a1027129065$a1027172961$a1027313014$a1027314917$a1088929069
020 $a0814345492$qhardcover
020 $a9780814345498$qhardcover
020 $a9780814345481$qpaperback
020 $a0814345484$qpaperback
020 $z9780814345504$qebook
020 $z0814345506$qebook
035 $a(OCoLC)1026605960$z(OCoLC)1027067541$z(OCoLC)1027129065$z(OCoLC)1027172961$z(OCoLC)1027313014$z(OCoLC)1027314917$z(OCoLC)1088929069
042 $alccopycat
050 00 $aPN1995.9.N4$bA37 2019
082 04 $a791.43/652996073$223
245 00 $aAfrican American cinema through Black lives consciousness /$cedited by Mark A. Reid.
264 1 $aDetroit :$bWayne State University Press,$c[2019]
264 4 $c©2019
300 $ax, 310 pages :$billustrations, portraits ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references and index.
520 $a"African American Cinema through Black Lives Consciousness uses critical race theory to discuss American films that embrace contemporary issues of race, sexuality, class, and gender. Its linear history chronicles black-oriented narrative film from post-World War II through the presidential administration of Barack Obama. Editor Mark A. Reid has assembled a stellar list of contributors who approach their film analyses as an intersectional practice that combines queer theory, feminism/womanism, and class analytical strategies alongside conventional film history and theory. Taken together, the essays invigorate a "Black Lives Consciousness," which speaks to the value of black bodies that might be traumatized and those bodies that are coming into being-ness through intersectional theoretical analysis and everyday activism. The volume includes essays such as Gerald R. Butters's, "Blaxploitation Film," which charts the genre and its uses of violence, sex, and misogyny to provoke a realization of other philosophical and sociopolitical themes that concern intersectional praxis. Dan Flory's "African-American Film Noir" explains the intertextual-fictional and socio-ecological-dynamics of black action films. Melba J. Boyd's essay, "'Who's that Nigga on that Nag?': Django Unchained and the Return of the Blaxploitation Hero," argues that the film provides cultural and historical insight, "signifies" on blackface stereotypes, and chastises Hollywood cinema's misrepresentation of slavery. African American Cinema through Black Lives Consciousness embraces varied social experiences within a cinematic Black Lives Consciousness intersectionality. The interdisciplinary quality of the anthology makes it approachable to students and scholars of fields ranging from film to culture to African American studies alike."
505 00 $gI.$tPostwar film treatment of the Civil Rights era: the fifties through the sixties :$tParalyzed in a jungle of racial torment and drowning in a sea of self-hate: Home of the brave (1949) and A soldier's story (1984) /$rCharlene Regester --$tIs there a doctor in the house?: Poitier in No way out (1950) /$rMark A. Reid --$tPoitier's cinematic intervention in For love of Ivy /$rKaren Bowdre --$gII.$tThe blaxploitation film and pastiche :$tBlaxpoitation film /$rGerald R. Butters Jr. --$tMilitant blax: screening revolution in the films of Oscar Williams, Christopher St. John, and Ivan Dixon /$rJonathan Munby --$tAfrican American film noir /$rDan Flory --$gIII.$tPostNegritude black film: pastiche and race :$t"Who's that nigga on that nag?": Django unchained and the return of the blaxploitation hero /$rMelba Joyce Boyd --$tBarry Jenkin's Medicine for melancholy: race, individualism, and Denisian influence /$rMark D. Cunningham --$gIV.$tBlack cinematic womanist praxis :$tBlack female agency in Haile Gerima's Bush mama and Sankofa /$rPatricia Hilliard-Nunn --$tDecolonizing Mammy and other subversive acts: directing as feminist praxis in Gina Princy-Bythewood's The secret life of bees /$rKimberly Nichele Brown --$tBlack women and the new magical negro /$rChesya Burke --$gV.$tSexual and racial polyphony in new black films :$tFrom queer to quare: the representation of LGBT blacks in cinema /$rAnne Crémieux --$tThe past, present, and future of black queer cinema /$rJames Smalls.
650 0 $aAfrican Americans in motion pictures.
650 0 $aRace in motion pictures.
650 0 $aBlaxploitation films.
650 7 $aRace in motion pictures.$2fast$0(OCoLC)fst01086507
650 7 $aBlaxploitation films.$2fast$0(OCoLC)fst00834235
650 7 $aAfrican Americans in motion pictures.$2fast$0(OCoLC)fst00799733
650 7 $aFilm$2gnd
650 7 $aSchwarze$2gnd
650 7 $a24.32 history of film art.$0(NL-LeOCL)077601394$2nbc
650 7 $a89.91 imperialism.$0(NL-LeOCL)077609301$2nbc
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
700 1 $aReid, Mark$q(Mark A.),$eeditor.
852 00 $bglx$hPN1995.9.N4$iA37 2019
852 00 $bbar$hPN1995.9.N4$iA37 2019