Cinéma/TV, Littérature / édition
REVUE | Décembre 2024
Black Camera: An International Film Journal, Issue 16.1
Revue : Black Camera
Parution : Décembre 2024
Français
https://muse.jhu.edu/issue/53974
Vol. 16, No. 1 Table of Contents:
Call for Close-Up Submissions
Sambizanga (1972): Aesthetics and Politics of Sarah Maldoror’s Film
CLOSE-UP: Reclaiming Blaxploitation in the Global Diaspora
Introduction
by Joseph E. Roskos and André Seewood
Short Eyes and the Convergence of Nuyorican Poetry, Chicago Soul, and American Independent Cinema
by Cynthia Baron
« You Really Want to Mess with Whitey: » The Politics of Form in The Spook Who Sat by the Door
by Mary C. Schmitt
The Afro-Asian Rhetoric of Women’s Liberation in Pam Grier’s Coffy and Foxy Brown
by Erick Raven
A Noisy Protrusion: Queer Blackness, Practical Effects, and Cinematic Sound in Jamaa Fanaka’s Welcome Home Brother Charles
by Patrick F. Walter
« Dreams do come true! »: Black Queer Comedy in Rudy Ray Moore’s The Human Tornado
by Ken Feil
‘I’m going to make sure your last few breaths feel like hell:’ Blaxploitation as a Language for Black Women’s Vengeance in Alice
by Matthew Richardson
Da Time Is Out of (a Spike Lee) Joint: Haunting Genre as Late Style in Da Sweet Blood of Jesus and Da 5 Bloods
by S.A. Wilder
CLOSE-UP: A Wide Shot: Expanding the Frame on Melvin Van Peebles
Introduction
by Samuel Smucker
Ain’t I Supposed to Die a Natural Death: A Theatrical Counterpoint to Sweetback
by Santi Elijah Holley
« Support Your Local Pornographer! »: Radical Sexual Politics and the Making of Sweet Sweetback’s Baadasssss Song!
by Amy Abugo Ongiri
The Cinematic Break: DJ Aesthetics and Political Subjectivity in Melvin Van Peebles
by Matthew Holtmeier
Melvin Van Peebles’s Hara-Kiri Tale(s) of Sex and Race
by Delphine Letort
A Portrait of the Artist as a Young Man: The Correspondence of Melvin Van Peebles with Kermit Eby and June Greenlief
by Samuel Smucker
« He Felt Like He Could Be His True Self Here »: An Interview with Christian Thivat, Producer of La Permission / Story of a Three Day Pass
by Samuel Smucker and Nathan Rabord
« It Was All Melvin! » An Interview with John B. Bennett, Producer of Watermelon Man
by Samuel Smucker
Between Burlesque and Black Horror: An Interview with Produce Jean-Pierre Saire on Melvin Van Peebles’s Bellyfull
by Samuel Smucker
The Undefeated Chester Himes
by Melvin Van Peebles
The Right to Be Ordinary
by Melvin Van Peebles
Bibliography of Melvin Van Peebles’s French Creative Works
by Samuel Smucker
Olivier Barlet Dossier
FESPACO, Pt. 4: The Future Stems from the Past
by Olivier Barlet
Vol. 16, No. 1 Table of Contents:
Call for Close-Up Submissions
Sambizanga (1972): Aesthetics and Politics of Sarah Maldoror’s Film
CLOSE-UP: Reclaiming Blaxploitation in the Global Diaspora
Introduction
by Joseph E. Roskos and André Seewood
Short Eyes and the Convergence of Nuyorican Poetry, Chicago Soul, and American Independent Cinema
by Cynthia Baron
« You Really Want to Mess with Whitey: » The Politics of Form in The Spook Who Sat by the Door
by Mary C. Schmitt
The Afro-Asian Rhetoric of Women’s Liberation in Pam Grier’s Coffy and Foxy Brown
by Erick Raven
A Noisy Protrusion: Queer Blackness, Practical Effects, and Cinematic Sound in Jamaa Fanaka’s Welcome Home Brother Charles
by Patrick F. Walter
« Dreams do come true! »: Black Queer Comedy in Rudy Ray Moore’s The Human Tornado
by Ken Feil
‘I’m going to make sure your last few breaths feel like hell:’ Blaxploitation as a Language for Black Women’s Vengeance in Alice
by Matthew Richardson
Da Time Is Out of (a Spike Lee) Joint: Haunting Genre as Late Style in Da Sweet Blood of Jesus and Da 5 Bloods
by S.A. Wilder
CLOSE-UP: A Wide Shot: Expanding the Frame on Melvin Van Peebles
Introduction
by Samuel Smucker
Ain’t I Supposed to Die a Natural Death: A Theatrical Counterpoint to Sweetback
by Santi Elijah Holley
« Support Your Local Pornographer! »: Radical Sexual Politics and the Making of Sweet Sweetback’s Baadasssss Song!
by Amy Abugo Ongiri
The Cinematic Break: DJ Aesthetics and Political Subjectivity in Melvin Van Peebles
by Matthew Holtmeier
Melvin Van Peebles’s Hara-Kiri Tale(s) of Sex and Race
by Delphine Letort
A Portrait of the Artist as a Young Man: The Correspondence of Melvin Van Peebles with Kermit Eby and June Greenlief
by Samuel Smucker
« He Felt Like He Could Be His True Self Here »: An Interview with Christian Thivat, Producer of La Permission / Story of a Three Day Pass
by Samuel Smucker and Nathan Rabord
« It Was All Melvin! » An Interview with John B. Bennett, Producer of Watermelon Man
by Samuel Smucker
Between Burlesque and Black Horror: An Interview with Produce Jean-Pierre Saire on Melvin Van Peebles’s Bellyfull
by Samuel Smucker
The Undefeated Chester Himes
by Melvin Van Peebles
The Right to Be Ordinary
by Melvin Van Peebles
Bibliography of Melvin Van Peebles’s French Creative Works
by Samuel Smucker
Olivier Barlet Dossier
FESPACO, Pt. 4: The Future Stems from the Past
by Olivier Barlet
English
https://muse.jhu.edu/issue/53974
Vol. 16, No. 1 Table of Contents:
Call for Close-Up Submissions
Sambizanga (1972): Aesthetics and Politics of Sarah Maldoror’s Film
CLOSE-UP: Reclaiming Blaxploitation in the Global Diaspora
Introduction
by Joseph E. Roskos and André Seewood
Short Eyes and the Convergence of Nuyorican Poetry, Chicago Soul, and American Independent Cinema
by Cynthia Baron
« You Really Want to Mess with Whitey: » The Politics of Form in The Spook Who Sat by the Door
by Mary C. Schmitt
The Afro-Asian Rhetoric of Women’s Liberation in Pam Grier’s Coffy and Foxy Brown
by Erick Raven
A Noisy Protrusion: Queer Blackness, Practical Effects, and Cinematic Sound in Jamaa Fanaka’s Welcome Home Brother Charles
by Patrick F. Walter
« Dreams do come true! »: Black Queer Comedy in Rudy Ray Moore’s The Human Tornado
by Ken Feil
‘I’m going to make sure your last few breaths feel like hell:’ Blaxploitation as a Language for Black Women’s Vengeance in Alice
by Matthew Richardson
Da Time Is Out of (a Spike Lee) Joint: Haunting Genre as Late Style in Da Sweet Blood of Jesus and Da 5 Bloods
by S.A. Wilder
CLOSE-UP: A Wide Shot: Expanding the Frame on Melvin Van Peebles
Introduction
by Samuel Smucker
Ain’t I Supposed to Die a Natural Death: A Theatrical Counterpoint to Sweetback
by Santi Elijah Holley
« Support Your Local Pornographer! »: Radical Sexual Politics and the Making of Sweet Sweetback’s Baadasssss Song!
by Amy Abugo Ongiri
The Cinematic Break: DJ Aesthetics and Political Subjectivity in Melvin Van Peebles
by Matthew Holtmeier
Melvin Van Peebles’s Hara-Kiri Tale(s) of Sex and Race
by Delphine Letort
A Portrait of the Artist as a Young Man: The Correspondence of Melvin Van Peebles with Kermit Eby and June Greenlief
by Samuel Smucker
« He Felt Like He Could Be His True Self Here »: An Interview with Christian Thivat, Producer of La Permission / Story of a Three Day Pass
by Samuel Smucker and Nathan Rabord
« It Was All Melvin! » An Interview with John B. Bennett, Producer of Watermelon Man
by Samuel Smucker
Between Burlesque and Black Horror: An Interview with Produce Jean-Pierre Saire on Melvin Van Peebles’s Bellyfull
by Samuel Smucker
The Undefeated Chester Himes
by Melvin Van Peebles
The Right to Be Ordinary
by Melvin Van Peebles
Bibliography of Melvin Van Peebles’s French Creative Works
by Samuel Smucker
Olivier Barlet Dossier
FESPACO, Pt. 4: The Future Stems from the Past
by Olivier Barlet
Vol. 16, No. 1 Table of Contents:
Call for Close-Up Submissions
Sambizanga (1972): Aesthetics and Politics of Sarah Maldoror’s Film
CLOSE-UP: Reclaiming Blaxploitation in the Global Diaspora
Introduction
by Joseph E. Roskos and André Seewood
Short Eyes and the Convergence of Nuyorican Poetry, Chicago Soul, and American Independent Cinema
by Cynthia Baron
« You Really Want to Mess with Whitey: » The Politics of Form in The Spook Who Sat by the Door
by Mary C. Schmitt
The Afro-Asian Rhetoric of Women’s Liberation in Pam Grier’s Coffy and Foxy Brown
by Erick Raven
A Noisy Protrusion: Queer Blackness, Practical Effects, and Cinematic Sound in Jamaa Fanaka’s Welcome Home Brother Charles
by Patrick F. Walter
« Dreams do come true! »: Black Queer Comedy in Rudy Ray Moore’s The Human Tornado
by Ken Feil
‘I’m going to make sure your last few breaths feel like hell:’ Blaxploitation as a Language for Black Women’s Vengeance in Alice
by Matthew Richardson
Da Time Is Out of (a Spike Lee) Joint: Haunting Genre as Late Style in Da Sweet Blood of Jesus and Da 5 Bloods
by S.A. Wilder
CLOSE-UP: A Wide Shot: Expanding the Frame on Melvin Van Peebles
Introduction
by Samuel Smucker
Ain’t I Supposed to Die a Natural Death: A Theatrical Counterpoint to Sweetback
by Santi Elijah Holley
« Support Your Local Pornographer! »: Radical Sexual Politics and the Making of Sweet Sweetback’s Baadasssss Song!
by Amy Abugo Ongiri
The Cinematic Break: DJ Aesthetics and Political Subjectivity in Melvin Van Peebles
by Matthew Holtmeier
Melvin Van Peebles’s Hara-Kiri Tale(s) of Sex and Race
by Delphine Letort
A Portrait of the Artist as a Young Man: The Correspondence of Melvin Van Peebles with Kermit Eby and June Greenlief
by Samuel Smucker
« He Felt Like He Could Be His True Self Here »: An Interview with Christian Thivat, Producer of La Permission / Story of a Three Day Pass
by Samuel Smucker and Nathan Rabord
« It Was All Melvin! » An Interview with John B. Bennett, Producer of Watermelon Man
by Samuel Smucker
Between Burlesque and Black Horror: An Interview with Produce Jean-Pierre Saire on Melvin Van Peebles’s Bellyfull
by Samuel Smucker
The Undefeated Chester Himes
by Melvin Van Peebles
The Right to Be Ordinary
by Melvin Van Peebles
Bibliography of Melvin Van Peebles’s French Creative Works
by Samuel Smucker
Olivier Barlet Dossier
FESPACO, Pt. 4: The Future Stems from the Past
by Olivier Barlet
Partager :
