LEADER 00000cam a2200457 i 4500 001 929591998 003 OCoLC 005 20170401053541.9 008 160304t20162016ncua b 001 0 eng 010 2016010797 020 9780822362050|q(hardcover ;|qalk. paper) 020 0822362058|q(hardcover ;|qalk. paper) 020 9780822362265|q(paperback ;|qalk. paper) 020 0822362260|q(paperback ;|qalk. paper) 040 NcD/DLC|beng|erda|cNDD|dDLC|dBTCTA|dYDXCP|dBDX|dOCLCO |dOCLCQ|dOCLCF|dWEL|dOSU|dOMB|dZLM 042 pcc 043 n-us--- 050 00 PN1995.9.N4|bG55 2016 082 00 791.43/652996073|223 100 1 Gillespie, Michael Boyce,|d1969-|eauthor. 245 10 Film blackness :|bAmerican cinema and the idea of black film /|cMichael Boyce Gillespie. 264 1 Durham ;|aLondon :|bDuke University Press,|c2016. 264 4 |c©2016 300 xi, 231 pages :|billustrations ;|c23 cm 336 text|btxt|2rdacontent 337 unmediated|bn|2rdamedia 338 volume|bnc|2rdacarrier 504 Includes bibliographical references and index. 505 0 Introduction : We insist: the idea of black film -- Reckless eyeballing: Coonskin and the racial grotesque -- Smiling faces: Chameleon street and Black performativity - - Voices inside (everything is everything): Deep cover and modalities of noir blackness -- Black maybe: Medicine for melancholy, place, and quiet becoming -- Coda : Destination out. 506 Pacific Film Archive collection; non-circulating. |5CBPF. 520 "In Film Blackness Michael Boyce Gillespie shifts the ways we think about black film, treating it not as a category, a genre, or strictly a representation of the black experience but as a visual negotiation between film as art and the discursivity of race. Gillespie challenges expectations that black film can or should represent the reality of black life or provide answers to social problems. Instead, he frames black film alongside literature, music, art, photography, and new media, treating it as an interdisciplinary form that enacts black visual and expressive culture. Gillespie discusses the racial grotesque in Ralph Bakshi's Coonskin (1975), black performativity in Wendell B. Harris Jr.'s Chameleon Street (1989), blackness and noir in Bill Duke's Deep Cover (1992), and how place and desire impact blackness in Barry Jenkins's Medicine for Melancholy (2008). Considering how each film represents a distinct conception of the relationship between race and cinema, Gillespie recasts the idea of black film and poses new paradigms for genre, narrative, aesthetics, historiography, and intertextuality." -- Publisher's description 650 0 African Americans in motion pictures. 650 0 Race in motion pictures. 650 0 Motion picture industry|zUnited States. 650 7 African Americans in motion pictures.|2fast |0(OCoLC)fst00799733 650 7 Motion picture industry.|2fast|0(OCoLC)fst01027150 650 7 Race in motion pictures.|2fast|0(OCoLC)fst01086507 651 7 United States.|2fast|0(OCoLC)fst01204155 935 .o18340829 954 20171027|bMarcive Authority Bib 956 20170615|bPRVY 956 20171025|bpfmcq|cMC 957 OCLC xref loaded 20180211