Pub Date : 2022-06-01DOI: 10.2979/blackcamera.14.1.09
Aisha Z. Cort
{"title":"Introduction","authors":"Aisha Z. Cort","doi":"10.2979/blackcamera.14.1.09","DOIUrl":"https://doi.org/10.2979/blackcamera.14.1.09","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48851636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.2979/blackcamera.14.1.21
Beti Ellerson
Abstract:The influential film La Noire de…, by Ousmane Sembène, released in 1966, offers a range of themes for a discussion on afro-descendant women and their myriad experiences in relationship to France. The project that this article undertakes encompasses the period around the time of its release to the present. The challenge that it lays for itself is embedded in a caveat posed as a question: What does the title even mean in the context of a "France" and more particularly a "Paris" that is often viewed as a "fantasy," but is a real, concrete place—with its contradictions and faults, promise and hope? Who is this discursive cohort of afro-descendant women—negotiating their place in the country/the capital: as student, expatriate, citizen, first-generation diasporan, third-culture "glocal" transplant, traveler, immigrant, migrant? The films selected to problematize these questions set the framework for this discussion.
{"title":"La Noire de…, La Passante and Many Others: Framing Cinematic Representations of Afro-Descendant Women, Identity, and Positionality in France","authors":"Beti Ellerson","doi":"10.2979/blackcamera.14.1.21","DOIUrl":"https://doi.org/10.2979/blackcamera.14.1.21","url":null,"abstract":"Abstract:The influential film La Noire de…, by Ousmane Sembène, released in 1966, offers a range of themes for a discussion on afro-descendant women and their myriad experiences in relationship to France. The project that this article undertakes encompasses the period around the time of its release to the present. The challenge that it lays for itself is embedded in a caveat posed as a question: What does the title even mean in the context of a \"France\" and more particularly a \"Paris\" that is often viewed as a \"fantasy,\" but is a real, concrete place—with its contradictions and faults, promise and hope? Who is this discursive cohort of afro-descendant women—negotiating their place in the country/the capital: as student, expatriate, citizen, first-generation diasporan, third-culture \"glocal\" transplant, traveler, immigrant, migrant? The films selected to problematize these questions set the framework for this discussion.","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42709012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.2979/blackcamera.14.1.04
J. Hamilton
Abstract:This essay explores the 1984 film Purple Rain's role in the refashioning of Warner Bros. recording artist Prince from an R&B prodigy into a movie star and a rock star simultaneously, both through specific audiovisual techniques deployed by the filmmakers as well as more subtle, ideological work. I argue that Purple Rain exploited three concepts central to rock music's self-understanding—locality, liveness, and authenticity—to establish Prince as a "real" rock star, a designation which certain aspects of his music and image, most notably his race, had previously rendered unavailable to him. In so doing, I also argue that Purple Rain marks an underacknowledged landmark in the historical trajectory of Black movie stardom more broadly, as the first time in a narrative rock film that an African American performer held a lead role that had historically been reserved for white artists. In its exceptional intertwining of music industry and film industry through the sort of star vehicle made famous by the early films of Elvis and the Beatles, Purple Rain was a cultural watershed that managed to be simultaneously old-fashioned and groundbreaking, transforming Prince into the first enormously visible Black "rock" icon since Jimi Hendrix.
{"title":"\"Baby I'm a Star\": Prince, Purple Rain, and the Audiovisual Remaking of the Black Rock Star","authors":"J. Hamilton","doi":"10.2979/blackcamera.14.1.04","DOIUrl":"https://doi.org/10.2979/blackcamera.14.1.04","url":null,"abstract":"Abstract:This essay explores the 1984 film Purple Rain's role in the refashioning of Warner Bros. recording artist Prince from an R&B prodigy into a movie star and a rock star simultaneously, both through specific audiovisual techniques deployed by the filmmakers as well as more subtle, ideological work. I argue that Purple Rain exploited three concepts central to rock music's self-understanding—locality, liveness, and authenticity—to establish Prince as a \"real\" rock star, a designation which certain aspects of his music and image, most notably his race, had previously rendered unavailable to him. In so doing, I also argue that Purple Rain marks an underacknowledged landmark in the historical trajectory of Black movie stardom more broadly, as the first time in a narrative rock film that an African American performer held a lead role that had historically been reserved for white artists. In its exceptional intertwining of music industry and film industry through the sort of star vehicle made famous by the early films of Elvis and the Beatles, Purple Rain was a cultural watershed that managed to be simultaneously old-fashioned and groundbreaking, transforming Prince into the first enormously visible Black \"rock\" icon since Jimi Hendrix.","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47374097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.2979/blackcamera.14.1.08
C. Nero
Abstract:Rodney Evans is a black gay filmmaker who works in both narrative and documentary forms. This interview covers his two feature-length narrative films, Brother to Brother (2004), The Happy Sad (2013), and his short work Billy and Aaron (2009). The interview focuses on the images of black masculinity in his films. Evans discusses the importance of showing black men—straight and gay—in intimate situations displaying vulnerability and sensitivity to each other in their relationships. Evans discusses the need to recover historical black gay figures for film as well as films about black gay men that have influenced his own work, notably Marlon Riggs's Tongues Untied (1989) and Shirley Clarke's A Portrait of Jason (1967). He also discusses the importance of the recent Barry Jenkins film Moonlight (2016).
{"title":"Screening Intimacy, Vulnerability, and Sensitivity Between Black Men: An Interview with Rodney Evans","authors":"C. Nero","doi":"10.2979/blackcamera.14.1.08","DOIUrl":"https://doi.org/10.2979/blackcamera.14.1.08","url":null,"abstract":"Abstract:Rodney Evans is a black gay filmmaker who works in both narrative and documentary forms. This interview covers his two feature-length narrative films, Brother to Brother (2004), The Happy Sad (2013), and his short work Billy and Aaron (2009). The interview focuses on the images of black masculinity in his films. Evans discusses the importance of showing black men—straight and gay—in intimate situations displaying vulnerability and sensitivity to each other in their relationships. Evans discusses the need to recover historical black gay figures for film as well as films about black gay men that have influenced his own work, notably Marlon Riggs's Tongues Untied (1989) and Shirley Clarke's A Portrait of Jason (1967). He also discusses the importance of the recent Barry Jenkins film Moonlight (2016).","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44480785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.2979/blackcamera.14.1.07
Guillaume Coly
Abstract:In the following interview, the French-Senegalese director Alain Gomis discusses some of his varied sources of inspiration and provides a sobering examination of the Senegalese film industry. The director also expounds upon his last feature, the cryptic Félicité (2017, France and Senegal), notably outlining the reasons why he is drawn to hybrid characters and liminal spaces. Lastly, Gomis explains his approach to spectatorship and reveals his upcoming film projects.
{"title":"Music to My Eyes: A Conversation with Alain Gomis","authors":"Guillaume Coly","doi":"10.2979/blackcamera.14.1.07","DOIUrl":"https://doi.org/10.2979/blackcamera.14.1.07","url":null,"abstract":"Abstract:In the following interview, the French-Senegalese director Alain Gomis discusses some of his varied sources of inspiration and provides a sobering examination of the Senegalese film industry. The director also expounds upon his last feature, the cryptic Félicité (2017, France and Senegal), notably outlining the reasons why he is drawn to hybrid characters and liminal spaces. Lastly, Gomis explains his approach to spectatorship and reveals his upcoming film projects.","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43688390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-06DOI: 10.2979/blackcamera.13.1.0586
Nick Makoha
{"title":"The New Normal: A Manifesto to Create a Safe Space, Free of Racism, for the Black Artist","authors":"Nick Makoha","doi":"10.2979/blackcamera.13.1.0586","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0586","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43161463","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-06DOI: 10.2979/blackcamera.13.1.0335
M. Garvey
Preamble Be it Resolved, That the Negro people of the world, through their chosen representatives in convention assembled in Liberty Hall, in the City of New York and United States of America, from August 1 to August 31, in the year of our Lord, one thousand nine hundred and twenty, protest against the wrongs and injustices they are suffering at the hands of their white brethren, and state what they deem their fair and just rights, as well as the treatment they propose to demand of all men in the future.
{"title":"Declaration of the Rights of the Negro Peoples of the World","authors":"M. Garvey","doi":"10.2979/blackcamera.13.1.0335","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0335","url":null,"abstract":"Preamble Be it Resolved, That the Negro people of the world, through their chosen representatives in convention assembled in Liberty Hall, in the City of New York and United States of America, from August 1 to August 31, in the year of our Lord, one thousand nine hundred and twenty, protest against the wrongs and injustices they are suffering at the hands of their white brethren, and state what they deem their fair and just rights, as well as the treatment they propose to demand of all men in the future.","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42779656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-06DOI: 10.2979/blackcamera.13.1.0539
Cauleen Smith
{"title":"The Association for the Advancement of Cinematic Creative Maladjustment: A Manifesto","authors":"Cauleen Smith","doi":"10.2979/blackcamera.13.1.0539","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0539","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41290470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-06DOI: 10.2979/blackcamera.13.1.0515
D. Miller
{"title":"Afrosurreal Manifesto: Black Is the New Black—A 21st Century Manifesto","authors":"D. Miller","doi":"10.2979/blackcamera.13.1.0515","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0515","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47820721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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