Pub Date : 2021-01-01DOI: 10.2979/blackcamera.13.1.0225
P. Noorlander
{"title":"Declaration of Principles on Freedom of Expression in Africa","authors":"P. Noorlander","doi":"10.2979/blackcamera.13.1.0225","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0225","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69687955","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 : 2021-01-01DOI: 10.2979/blackcamera.13.1.0267
{"title":"Sollywood: A Movement","authors":"","doi":"10.2979/blackcamera.13.1.0267","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0267","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69688745","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 : 2021-01-01DOI: 10.2979/blackcamera.13.1.0315
{"title":"Draft Statute of the African Audiovisual and Cinema Commission (AACC)","authors":"","doi":"10.2979/blackcamera.13.1.0315","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0315","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69689217","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 : 2021-01-01DOI: 10.2979/blackcamera.13.1.0402
{"title":"Manifesto of the Palestinian Cinema Group","authors":"","doi":"10.2979/blackcamera.13.1.0402","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0402","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69689318","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 : 2021-01-01DOI: 10.2979/blackcamera.13.1.0493
{"title":"Santo Domingo Resolution from the Second Meeting of African,\u0000 Caribbean, and Pacific Group of States (ACP) Ministers of Culture","authors":"","doi":"10.2979/blackcamera.13.1.0493","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0493","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69689610","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 : 2021-01-01DOI: 10.2979/blackcamera.13.1.0527
{"title":"Final Declaration of the Third Meeting of Filmmakers from Africa,\u0000 Brazil, the Caribbean, and their Diasporas (ABCD CINEMA)","authors":"","doi":"10.2979/blackcamera.13.1.0527","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0527","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69689959","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 : 2021-01-01DOI: 10.2979/blackcamera.13.2.13
Joshua Sperling
Abstract:Spike Lee's BlacKkKlansman (2018) works within the structural conventions of the undercover detective genre, but with an important twist. Whereas most undercover movies feature story worlds built around binaries (cops and robbers, state and subculture), BlacKkKlansman follows a trinomial logic, as Ron Stallworth navigates the Colorado Springs Police Department, the local Black Student Union, and the White Supremacist "Organization." This tripling leads to innovative forms of narrative agency, audience identification, and thematic juxtaposition. It also engenders a novel story situation in which two undercover agents—one Black and one white and Jewish—inhabit the same identity while feeling unique pressures regarding the authenticity of their personal and professional lives. By situating BlacKkKlansman within the conventions of the undercover genre, and exploring its narratological innovations, this essay argues that the film's triadic (rather than dualistic) structure opens it to the charge that it belongs to the tradition of liberal centrism rather than leftist radicalism, even as it allows Lee to pursue a "late style" interest in increasingly complex forms of self-definition.
{"title":"Twos and Threes: A Structural Analysis of BlacKkKlansman's Undercover Narrative","authors":"Joshua Sperling","doi":"10.2979/blackcamera.13.2.13","DOIUrl":"https://doi.org/10.2979/blackcamera.13.2.13","url":null,"abstract":"Abstract:Spike Lee's BlacKkKlansman (2018) works within the structural conventions of the undercover detective genre, but with an important twist. Whereas most undercover movies feature story worlds built around binaries (cops and robbers, state and subculture), BlacKkKlansman follows a trinomial logic, as Ron Stallworth navigates the Colorado Springs Police Department, the local Black Student Union, and the White Supremacist \"Organization.\" This tripling leads to innovative forms of narrative agency, audience identification, and thematic juxtaposition. It also engenders a novel story situation in which two undercover agents—one Black and one white and Jewish—inhabit the same identity while feeling unique pressures regarding the authenticity of their personal and professional lives. By situating BlacKkKlansman within the conventions of the undercover genre, and exploring its narratological innovations, this essay argues that the film's triadic (rather than dualistic) structure opens it to the charge that it belongs to the tradition of liberal centrism rather than leftist radicalism, even as it allows Lee to pursue a \"late style\" interest in increasingly complex forms of self-definition.","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48063563","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 : 2021-01-01DOI: 10.2979/BLACKCAMERA.12.2.20
Akudinobi
{"title":"Tradition/Modernity and the Discourse of African Cinema","authors":"Akudinobi","doi":"10.2979/BLACKCAMERA.12.2.20","DOIUrl":"https://doi.org/10.2979/BLACKCAMERA.12.2.20","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686396","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 : 2021-01-01DOI: 10.2979/BLACKCAMERA.12.2.24
Barlet, Forest
{"title":"Dossier 1: Key Dates in the History of African Cinema","authors":"Barlet, Forest","doi":"10.2979/BLACKCAMERA.12.2.24","DOIUrl":"https://doi.org/10.2979/BLACKCAMERA.12.2.24","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686456","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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