Pub Date : 2021-01-01DOI: 10.2979/blackcamera.13.1.0271
{"title":"Communiqué from the “Sustaining the New Wave of Pan-Africanism” Workshop","authors":"","doi":"10.2979/blackcamera.13.1.0271","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0271","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69688842","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.13.1.0444
{"title":"Speech Delivered by Gaston Kaboré, Secretary General of the\u0000 Pan-African Federation of Filmmakers, at the Inauguration of the San Antonio de\u0000 Los Baños International School of Cinema and Television","authors":"","doi":"10.2979/blackcamera.13.1.0444","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0444","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69689118","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.13.1.0404
{"title":"Super Fly: A Summary of Objections by the Kuumba Workshop","authors":"","doi":"10.2979/blackcamera.13.1.0404","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0404","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69689362","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.13.1.0482
{"title":"Dakar Declaration on the Promotion of ACP Cultures and Cultural\u0000 Industries","authors":"","doi":"10.2979/blackcamera.13.1.0482","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0482","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69689517","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":"13 1","pages":"255 - 281"},"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.13.2.05
J. O. Jackson
Abstract:This article explores the various ways that African American filmmaker Kahlil Joseph represents contemporary experiences of the African diaspora in his new media work, Belhaven Meridian (2010). Reflecting the present world system's complex network environment, Joseph's screen text is a node within numerous theoretical networks, oscillating within disparate conceptual frameworks concurrently. Weaving the strands of these divergent theories together with the "crossroads" concepts from Harry J. Elam Jr., Kennell Jackson's Black Cultural Traffic (2005), and Akin Adesokan's Postcolonial Artists and Global Aesthetics (2011), this article scrutinizes Joseph's work through intersections of emergent music video and new media theories, as well as film theories from African, American, and European perspectives. The article argues that such an approach enriches the didactic possibilities of their respective and, simultaneously, entwined theoretical branches.
{"title":"Kahlil Joseph, New Media, and the New Black Cinema: A Case for Situating Kahlil Joseph's Audiovisual Work Within the Theoretical Frameworks of African Film","authors":"J. O. Jackson","doi":"10.2979/blackcamera.13.2.05","DOIUrl":"https://doi.org/10.2979/blackcamera.13.2.05","url":null,"abstract":"Abstract:This article explores the various ways that African American filmmaker Kahlil Joseph represents contemporary experiences of the African diaspora in his new media work, Belhaven Meridian (2010). Reflecting the present world system's complex network environment, Joseph's screen text is a node within numerous theoretical networks, oscillating within disparate conceptual frameworks concurrently. Weaving the strands of these divergent theories together with the \"crossroads\" concepts from Harry J. Elam Jr., Kennell Jackson's Black Cultural Traffic (2005), and Akin Adesokan's Postcolonial Artists and Global Aesthetics (2011), this article scrutinizes Joseph's work through intersections of emergent music video and new media theories, as well as film theories from African, American, and European perspectives. The article argues that such an approach enriches the didactic possibilities of their respective and, simultaneously, entwined theoretical branches.","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":"13 1","pages":"114 - 89"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44246085","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.13.2.02
P. Taoua
{"title":"Cultivating a Community of Viewers in Africa: Meta-cinematic Elements in Abderrahmane Sissako’s Major Films","authors":"P. Taoua","doi":"10.2979/blackcamera.13.2.02","DOIUrl":"https://doi.org/10.2979/blackcamera.13.2.02","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46905703","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.13.2.18
Timothy Lomeli
Abstract:Paulin Soumanou Vieyra's vision for African cinema was born out of the lack of proper representation for Africans in Western cinema. Thus, his films explore narratives of Africans on the big screen, those whose roles, as Vieyra himself writes in Le cinéma au Sénégal (1983), had previously been relegated to that of "Y a bon Banania," or that of the educated and reformed savage (52). One of his films that showcases the plurality and hybridity of Africans is Une nation est née (1961). The film, created on the backdrop of the Senegalese Independence Day celebration, is a journey through the forgotten history of the peoples of the newly formed nation, from precolonial times to the fight for independence. This film relies on the novel L'Aventure Ambiguë, by Cheikh Hamidou Kane, to structure and tell its story, but it also goes beyond Kane's work to envision the future of Senegal, in order to create a new history of Senegal and work to construct a national identity.
{"title":"Rise of a Nation: An Exploration of Vieyra's Vision for Senegal Through Une nation est née","authors":"Timothy Lomeli","doi":"10.2979/blackcamera.13.2.18","DOIUrl":"https://doi.org/10.2979/blackcamera.13.2.18","url":null,"abstract":"Abstract:Paulin Soumanou Vieyra's vision for African cinema was born out of the lack of proper representation for Africans in Western cinema. Thus, his films explore narratives of Africans on the big screen, those whose roles, as Vieyra himself writes in Le cinéma au Sénégal (1983), had previously been relegated to that of \"Y a bon Banania,\" or that of the educated and reformed savage (52). One of his films that showcases the plurality and hybridity of Africans is Une nation est née (1961). The film, created on the backdrop of the Senegalese Independence Day celebration, is a journey through the forgotten history of the peoples of the newly formed nation, from precolonial times to the fight for independence. This film relies on the novel L'Aventure Ambiguë, by Cheikh Hamidou Kane, to structure and tell its story, but it also goes beyond Kane's work to envision the future of Senegal, in order to create a new history of Senegal and work to construct a national identity.","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":"13 1","pages":"338 - 354"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46273554","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.13.1.0033
{"title":"Proposed Establishment of an All-African Cinema Union","authors":"","doi":"10.2979/blackcamera.13.1.0033","DOIUrl":"https://doi.org/10.2979/blackcamera.13.1.0033","url":null,"abstract":"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69686916","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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