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Journal articles on the topic 'Black women in film'
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Frymus, Agata. "Researching Black women and film history." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 228–36. http://dx.doi.org/10.33178/alpha.20.18.
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My project (Horizon 2020, 2018–20) traces Black female moviegoing in Harlem during the silent film era. The main challenge in uncovering the women’s stories is that historical paradigm has always prioritised the voices of the white, middle-class elite. In the field of Black film history, criticism expressed by male journalists—such as Lester A. Walton of New York Age—has understandably received the most attention (Everett; Field, Uplift). Black, working-class women are notoriously missing from the archive. How do we navigate historical records, with their own limits and absences? This paper argues for a broader engagement with historic artefacts—memoirs, correspondence and recollections—as necessary to re-centre film historiography towards the marginalised. It points to the ways in which we can learn from the scholars and methods of African American history to “fill in the gaps” in the study of historical spectatorship.
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Herbert, Emilie. "Black British Women Filmmakers in the Digital Era: New Production Strategies and Re-Presentations of Black Womanhood." Open Cultural Studies 2, no. 1 (2018): 191–202. http://dx.doi.org/10.1515/culture-2018-0018.
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Abstract The story of Black women in British mainstream cinema is certainly one of invisibility and misrepresentations, and Black women filmmakers have historically been placed at the margins of British film history. Up until the mid-1980s, there were no Black female directors in Britain. Pioneers like Maureen Blackwood, Martina Attille and Ngozi Onwurah have actively challenged stereotypical representations of Black womanhood, whilst asserting their presence in Black British cinema, often viewed as a male territory. In the 2010s, it seems that the British film industry remains mostly white and masculine. But the new millennium has brought a digital revolution that has enabled a new generation of Black women filmmakers to work within alternative circuits of production and distribution. New strategies of production have emerged through the use of online crowdfunding, social media and video-sharing websites. These shifts have opened new opportunities for Black women filmmakers who were until then often excluded from traditional means of exhibition and distribution. I will examine these strategies through the work of Moyin Saka, Jaha Browne and Cecile Emeke, whose films have primarily contributed to the re-presentation of Black womanhood in popular culture.
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Gillespie, Michael Boyce. "Death Grips." Film Quarterly 71, no. 2 (2017): 53–60. http://dx.doi.org/10.1525/fq.2017.71.2.53.
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Black death in contemporary cinema requires understanding how film blackness always means provoking new entangled measures of the aesthetic, political, social, and cultural capacities of black visual and expressive culture. As a result, the critical consequence of film blackness always entails issues of affect, narrativity, visual historiography, and genre/modalities. Black death, then, signifies both the violent injustice of African American deaths and the rendering of death in cinema. Three short films by black women filmmakers represent an ever-growing archive of recent works that merit critical attention as they advance cinematic practices that point to new political philosophies and circuits of knowledge related to black death and film form. Taken together as a “cinema in the wake,” the three—Leila Weefur's Dead Nigga BLVD (2015), Frances Bodomo's Everybody Dies! (2016), and A. Sayeeda Clarke's White (2011)—pose a range of formal propositions about black death that include animation, the racial grotesque, and speculative fiction. With distinct and compelling conceptions of black death, these three short films are deeply located in their contemporary American moment. Thinking with these films involves thinking through performing objects, the racial grotesque, and the futurity of social deletion. Together these films exquisitely suspend, disrupt, and disturb constituting distinct visual historiographies and strategies. As cinema in the wake, these films are stirred by incitements of film form, materiality, temporality, and conceptions of black being. But, more importantly, to think through black death across the formal experimentation and critical capacities of this work is to contend with an enduring urgency, the precarity of black life.
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Baker, Courtney R. "Framing Black Performance." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (2020): 37–61. http://dx.doi.org/10.1215/02705346-8359506.
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Recent African American film scholarship has called for an attention to the structures of black representation on screen. This work echoes the calls made in the 1990s by black feminist film and cultural scholars to resist the allure of reading for racial realism and to develop more appropriate critical tools and terms to acknowledge black artistic innovations. This essay takes up and reiterates that call, drawing attention to the problems of film interpretation that attend to a version of historical analysis without an understanding of form and medium. Foregrounding film as a terrain of struggle, the essay mobilizes an analysis of the 2014 film Selma to illuminate the multiple resonances of the concept representation. Focusing on the film’s representation of women and girl characters, the essay argues that cinematic play with the terms and conditions of representation comment powerfully on the limitations of cinematic and historical discourses to speak about the black femme as a political subject. Analysis of Selma exposes the key problems of reception and criticism facing contemporary African American film. The film speaks to the failure of de jure representational regimes in post–civil rights movement America and offers up the cinematic terrain as an important twenty-first-century site of African American struggle.
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Foster, Gwendolyn. "Review: Black Women Film & Video Artists by Jacqueline Bobo." Film Quarterly 53, no. 1 (1999): 46–47. http://dx.doi.org/10.2307/3697215.
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Yue, Genevieve. "The China Girl on the Margins of Film." October 153 (July 2015): 96–116. http://dx.doi.org/10.1162/octo_a_00228.
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The “China Girl” has appeared in more films than any actress, but she is almost never seen. Used in industrial film laboratories since the late 1920s, this image-nearly always a woman positioned next to color swatches and patches of white, gray, and black—is clipped to the leader of a film reel and used throughout the processing, developing, and printing of photochemical film to determine the desired exposure, density, and ideal appearance of the human body. This article addresses the China Girl's essential but often overlooked role in film history, specifically as it pertains to questions of race, gender, and visibility. It also surveys the work of various experimental filmmakers, including Owen Land, Morgan Fisher, Barbara Hammer, Sandra Gibson and Luis Recoder, Cécile Fontaine, and Mark Toscano, who have used the China Girl image to explore issues of celluloid materiality, the behind-the-scenes workings of the film industry, and the often marginal role of women both in front of and behind the camera.
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Mirković, Saša. "Physical and Virtual Performance: From The Black Ribbon, The Women in Black, to the Film Industry." AM Journal of Art and Media Studies, no. 18 (April 15, 2019): 129. http://dx.doi.org/10.25038/am.v0i18.292.
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This article aims to compare the physical and virtual performance embodied in the anti-war campaign Black Ribbon and Women in Black performances, and Hollywood actresses’ gowns at the prestigious award event, supporting the #MeToo campaign, as well as to prove that, except for the black color permeating them all, significant difference in the success of these performances is caused not only by technological advancement, but also by the circumstances and the context they take place in. The idea is to analyze in chronological review, using literature and archival material, the symbolism of the color black in performances connecting antiwar activists, citizens, the non-governmental sector and the film industry.The article will deal with the motives behind the narratives of the mentioned actions, as well as the scope of these performances, from stopping a war, punishment of war criminals, to prosecution for years of sexual harassment of women. It will stress the importance of the constant fight against the culture of impunity in different areas, and the importance of the contribution of technological development during the past 30 years, for moving the above-mentioned ‘black color’ performances, from the real to the virtual world. Here, this shift will be symbolized by space-restricted performances ranging from mass street protest marches to #MeToo. Article received: December 30, 2018; Article accepted: January 31, 2019; Published online: April 15, 2019; Review articleHow to cite this article: Mirković, Saša. "Physical and Virtual Performance: From The Black Ribbon, The Women in Black, to the Film Industry." AM Journal of Art and Media Studies 18 (2019): 129−140. doi: 10.25038/am.v0i18.292
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Sales, Michelle, and Bruno Muniz. "Black women’s oppositional gaze making images." Vista, no. 6 (June 30, 2020): 101–19. http://dx.doi.org/10.21814/vista.3061.
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In this article, we consider the audio-visual production carried out by black women in Brazil since the second decade of the 21st century. Our objective is to propose a reflection, adopting an intersectional approach, on how an oppositional gaze creates images that break with racist stereotypes and challenge whiteness (hooks, 1992). We argue that the production of black women in Brazil questions the reproduction of institutional racism and digs deeper into the issue of colonial past. They create a narrative dispute that the oppositional feminine gaze imposes on the film industry.
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Edwards, Allma. "The Yari Yari Film Series: Black Women Writers and the Future." Black Scholar 29, no. 2-3 (1999): 32–33. http://dx.doi.org/10.1080/00064246.1999.11430959.
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Luckett, Josslyn. "The Daughters Debt: How Black Spirituality and Politics are Transforming the Televisual Landscape." Film Quarterly 72, no. 4 (2019): 9–17. http://dx.doi.org/10.1525/fq.2019.72.4.9.
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The spectrum of black women's spirituality in television has become nearly as diverse as the portraits of Afro-Atlantic spiritual practices that became central to key literary works of black feminist authors of the 1980s, such as Toni Cade Bambara, Paule Marshall, Toni Morrison, and Alice Walker. While many are the spiritual and televisual daughters of the authors mentioned above, this essay argues that the appearance of this wider range of black women's spirituality and activism in episodic television owes its greatest debt to two films from the 1990s, Julie Dash's, Daughters of the Dust (1991) and Kasi Lemmons’ Eve's Bayou (1997). I focus here on two shows which were themselves created by Black women feature film directors, Shots Fired (Gina Prince Bythewood with Reggie Rock Bythewood) and Queen Sugar (Ava DuVernay). I examine how characters like Pastor Janae (from Shots) and Nova Bordelon (from Sugar) use their spiritual practices in service of social justice, family, and community healing in ways that connect them to the women of Dash and Lemmons’ earlier films.
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Copeland, Kameron J. "From New Black Realism to Tyler Perry." Journal of Men’s Studies 25, no. 1 (2016): 70–91. http://dx.doi.org/10.1177/1060826516641096.
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In the midst of a revival of gospel theater aimed at Black female Christian audiences, Tyler Perry mastered a successful approach to Black independent gospel plays. Eventually, Perry transferred his work to the film screen, exploring the struggles of Black women in their relationships with Black men. While his depiction of Black men has garnered much controversy, Perry characterizes Black masculinity throughout his romantic storylines using a formulaic approach seeking to uplift his predominately Black female audience, while exploring the faults and various tropes of Black masculinity. In Perry’s female-oriented romantic storylines, Black men are usually categorized as an affluent shape-shifter, neglected love interest, transformed hard worker, crooked hoodlum, or Black messiah redux. Throughout this study, Perry’s usage of these characterizations is explored. Unlike 1990s New Black Realism films, which could have driven the explosion of female-oriented gospel-themed works, Perry fuses Black theological perceptions of manhood with a patriarchal-centered exploration of Black womanhood.
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Ikhsano, Andre, and Jakarudi Jakarudi. "Representation of Black Feminism in Hidden Figures." Nyimak: Journal of Communication 4, no. 2 (2020): 169. http://dx.doi.org/10.31000/nyimak.v4i2.2358.
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Hidden Figures is a film based on the true story of three African American women who help NASA in the space race. The three African American women are Katherine G. Johnson, Mary Jackson, and Dorothy Vaughan. With the setting of the 1960s era, these three women are fighting against a climate of segregation (separation based on race or skin color) in their work environment (NASA). This study aims to explore Patricia Hill Collins’ theory of black feminism and to integrate it with Stella Ting-Toomey’s theory of face-negotiation. This research is based on a critical paradigm and uses a qualitative approach. Using Sara Mills’s critical discourse analysis as a data analysis technique, this study found a representation of black feminism in the film Hidden Figures. The discrimination experienced by the characters is in the form of racism, sexism, and classism. However, the resistance carried out by the characters is through self definition, not in safe spaces as mentioned by Collins. The characters also do not avoid conflict, but use a negotiation approach with a compromising style to achieve a win-win solution.Keywords: Black feminism, face-negotiation, racism, sexism, classism ABSTRAKHidden Figures adalah film yang diangkat berdasarkan kisah nyata tiga perempuan Afro-Amerika yang membantu NASA dalam space race. Ketiga perempuan Afro-Amerika itu adalah Katherine G. Johnson, Mary Jackson, dan Dorothy Vaughan. Dengan setting waktu era 1960-an, ketiga perempuan ini berjuang melawan iklim segregasi (pemisahan berdasarkan pada ras atau warna kulit) di lingkungan kerja mereka (NASA). Penelitian ini bertujuan untuk mendalami teori black feminism Patricia Hill Collins dan hendak mengintegrasikannya dengan teori face-negotiation Stella Ting-Toomey. Penelitian ini didasarkan pada paradigma kritis dan menggunakan penekatan kualitatif. Menggunakan analisis wacana kritis Sara Mills sebagai teknik analisis data, penelitian ini menemukan representasi black feminism di dalam film Hidden Figures. Diskriminasi yang dialami para tokoh adalah berupa racism, sexism, dan classism. Akan tetapi, perlawanan yang dilakukan para tokoh adalah melalui self definition, tidak dilakukan dalam safe spaces sebagaimana disinggung oleh Collins. Para tokoh juga tidak menghindari konflik, namun menggunakan pendekatan negosiasi dengan gaya compromising style dalam mencapai win-win solution.Kata Kunci: Black feminism, face-negotiation, racism, sexism, classism
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Welbon, Yvonne, and Alexis Pauline Gumbs. "Sisters in the Life." Feminist Media Histories 5, no. 4 (2019): 76–86. http://dx.doi.org/10.1525/fmh.2019.5.4.76.
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Yvonne Welbon, an award-winning filmmaker and founder of the Chicago-based nonprofit Sisters in Cinema, interviews Alexis Pauline Gumbs, cofounder of the Black Feminist Film School, as part of a larger trans-media project on the history of queer Black lesbian media makers, SistersintheLife.com. Gumbs speaks about Black feminist practices of education and filmmaking, delving into the founding and inspiration of the Black Feminist Film School and its mission to “create the world anew.” She explains her “community accountable practice” that is connected to traditions of Black intellectualism, her position as provost of a “tiny Black feminist university” that she calls Eternal Summer of the Black Feminist Mind, as well as how she and her collaborators have been inspired by QWOCMAP (Queer Women of Color Media Arts Project).
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Bailey, Moya. "Misogynoir in Medical Media: On Caster Semenya and R. Kelly." Catalyst: Feminism, Theory, Technoscience 2, no. 2 (2016): 1–31. http://dx.doi.org/10.28968/cftt.v2i2.28800.
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Misogynoir describes the co-constitutive, anti-Black, and misogynistic racism directed at Black women, particularly in visual and digital culture (Bailey, 2010). The term is a combination of misogyny, the hatred of women, and noir, which means black but also carries film and media connotations. It is the particular amalgamation of anti-Black racism and misogyny in popular media and culture that targets Black trans and cis women. Representational images contribute to negative societal perceptions about Black women, which can precipitate racist gendered violence that harms health and can even result in death. As philosopher Linda Alcoff asserts, racism depends on perceptible difference to determine which bodies are expendable, and in this cultural moment of Black hypervisibility, Black women are particularly vulnerable (Philosophy). I use two culture examples to explore the real life impact of misogynoir in medical media. I explore the ways in which the biomedical knowledge produced by physicians reinforces certain bodies as normal and others as pathological. The case of Caster Semenya as well as the trial of R&B star R. Kelly, allow me to introduce Black feminist health science studies as a critical intervention into current medical curriculum reform conversations.
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Lawson, Sam. "“Deviant” Psychosis: An Exploration of the Production and Consumption of Queer and Transgender Women in the Films of Brian De Palma." Film Matters 11, no. 3 (2020): 21–31. http://dx.doi.org/10.1386/fm_00097_1.
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This article provides a critical analysis of three films by filmmaker Brian De Palma: Dressed to Kill (1980), The Black Dahlia (2006), and Passion (2012). De Palma uses both the thematic tropes of film noir (psychosis, sexual deviance, doubling, etc.) and its stylistic conventions (chiaroscuro lighting, urban environments, etc.) to capitalize on the LGBTQ+ community, using them to create a spectacle of difference for his viewing audience. De Palma panders primarily to heterosexual spectators by using LGBTQ+ women to entertain/titillate audiences via the conventions of noir, thereby suggesting that these women are intrinsically tied to mental illness as a result of their sexual deviance. The analysis of Dressed to Kill will focus on issues of transgender representation, whereas the analyses of The Black Dahlia and Passion will address the representation of lesbianism/bisexuality.
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Stilwell, Robynn J. "Black Voices, White Women's Tears, and the Civil War in Classical Hollywood Movies." 19th-Century Music 40, no. 1 (2016): 56–78. http://dx.doi.org/10.1525/ncm.2016.40.1.56.
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Two musical trends of the 1930s—the development of a practice for scoring sound films, and the increasing concertization of the spiritual in both solo and choral form—help shape the soundscape of films based in the South and/or on Civil War themes in early sound-era Hollywood. The tremendous success of the Broadway musical Show Boat (1927), which was made into films twice within seven years (1929, 1936), provided a model of chorus and solo singing, and films like the 1929 Mary Pickford vehicle Coquette and the 1930 musical Dixiana blend this theatrical practice with a nuanced syntax that logically carries the voices from outdoors to indoors to the interior life of a character, usually a white woman. Director D. W. Griffith expands this use of diegetic singing in ways that will later be the province of nondiegetic underscore in his first sound film, Abraham Lincoln (1930). Shirley Temple's Civil War–set films (The Little Colonel and The Littlest Rebel [both 1935] and Dimples [1936]) strongly replicate the use of the voices of enslaved characters—most of whom are onscreen only to provide justification for the source of the music—to mourn for white women. Jezebel, the 1938 antebellum melodrama, expands musicodramatic syntax that had been developed in single scenes or sequences over the entire second act and a white woman's fall and attempted redemption. Gone with the Wind (1939) both plays on convention and offers a moment of transgression for Prissy, who takes her voice for her own pleasure in defiance of Scarlett O'Hara. The detachment of the spiritual from the everyday experience of African Americans led to a recognition of the artistry of the music and the singers on the concert stage. In film, however, the bodies of black singers are marginalized and set in service of white characters and white audiences.
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Brewster, Yvonne. "Drawing the Black and White Line: Defining Black Women's Theatre." New Theatre Quarterly 7, no. 28 (1991): 361–68. http://dx.doi.org/10.1017/s0266464x00006060.
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Yvonne Brewster is best known in Britain as artistic director of Talawa Theatre, but she has also been active in the theatres of Jamaica, Africa, and America, having worked as a drama teacher, television production assistant and presenter, and film director in Jamaica before beginning her international theatre directing career. Talawa was founded in 1985 by four women, with Yvonne Brewster as director, and with the aim of using ‘the ancient African ritual and black political experience of our forebears to inform, enrich, and enlighten British theatre’. Although Talawa has as yet been unable to give the work of black women writers the attention it deserves, the company is itself primarily female: the artistic director and the majority of employees are women, all the designers to date have been women, and so predominantly are the technical and stage management staff. A medium- to large-scale touring company, Talawa worked without a building base until 1991, when the Jeanetta Cochrane Theatre became its home. Yvonne Brewster has directed all Talawa's work to date, focusing primarily on productions of the classics with black performers and on introducing the work of black playwrights to British audiences. Her productions have included The Black Jacobins by C. L. R. James (1985–86), An Echo in the Bone by Dennis Scott (1986–87), O Babylon! by Derek Walcott (1987–88), Wilde's The Importance of Being Earnest (1988–89), The Gods Are Not to Blame by Ola Rotimi (1989–90), The Dragon Can't Dance by Earl Lovelace (1990–91), and Shakespeare's Antony and Cleopatra (1991–92). Yvonne Brewster is also the editor of Methuen's two volumes of Black Plays (1987 and 1989). Here she is interviewed by Lizbeth Goodman, who has just completed her doctoral dissertation on women's theatre in Britain at Cambridge, and is currently working with the Open University.
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Beckman, Karen. "Black Media Matters." Film Quarterly 68, no. 4 (2015): 8–23. http://dx.doi.org/10.1525/fq.2015.68.4.8.
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On May 13, 1985, the City of Philadelphia bombed the home of the radical black organization MOVE that was founded by John Africa in 1972. The military-style attack killed 11 occupants of the house, including 5 children, and destroyed almost two square blocks of a residential neighborhood, rendering 250 men, women and children homeless. In the midst of both contemporary protests responding to excessive police violence against African Americans and the military’s use of drone airpower, “Black Media Matters” returns our attention to the 1987 documentary, The Bombing of Osage Avenue, produced and directed by Louis Massiah, written and narrated by Toni Cade Bambara. Drawing on the archives of both Massiah and Bambara, this essay explores the film as a model of a media response to black political protest, death and suffering that resists spectacularization and oversimplification, and instead fosters historical awareness and critical reflection.
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Ingle, Zachary. "Book Reviews: Divas on Screen: Black Women in American Film by Mia Mask." Journal of American Culture 33, no. 3 (2010): 252–53. http://dx.doi.org/10.1111/j.1542-734x.2010.00749.x.
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Zięba, Hubert. "Rasa, płeć, choroba. Sposoby reprezentowania czarnych kobiet w kontekście epidemii AIDS w Stanach Zjednoczonych." Prace Kulturoznawcze 21, no. 4 (2018): 97–118. http://dx.doi.org/10.19195/0860-6668.21.4.6.
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Race, sex, disease. Modes of representing black women in the context of the AIDS epidemic in the United StatesIn this article I try to outline the ways of representing black women in the context of the AIDS epidemic in the United States. The point of departure for prospecting for such images is the development of the feminist thought and women cinema practices, described by E. Ann Kaplan and Alexandra Juhasz, which diverge from a unified category of women towards a multicultural aspect of femininity. In the face of rendering HIV/AIDS dominantly from a white male perspective in the most popular motion pictures about the disease, I begin with Georges Didi-Huberman assumption, according to which, under a layer of popular images of disasters, there are always different depictions yet to be discovered. Referring to the concept of minoritarian strategies, formulated by Gilles Deleuze and Felix Guattari, I attempt to make a formal and stylistic analysis of four films, two documentaries and two features. Simultaneously I try to demonstrate that actions taken by women involved in different levels of film production cross the traditional opposition between the mainstream and independent cinemas. The films analyzed in this article are: Sandra’s Web: A Mother’s Diary 1996, dir. Beverly Peterson, Wilhemina’s War 2015, dir. June Cross, Life Support 2007, dir. Nelson George, and Precious 2009, dir. Lee Daniels.
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Fulani, Ifeona. "Celluloid Documents: migrant women in Black Audio Film Collective’sHandsworth SongsandTwilight City, and Sankofa Film and Video Collective’sDreaming Rivers." Atlantic Studies 15, no. 1 (2017): 1–15. http://dx.doi.org/10.1080/14788810.2017.1293464.
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Wiedlack, Katharina. "A feminist becoming? Louise Thompson Patterson’s and Dorothy West’s sojourn in the Soviet Union." Feminismo/s, no. 36 (December 3, 2020): 103. http://dx.doi.org/10.14198/2020.36.05.
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This article follows the socialist activist Louise Thompson (later Patterson) and the writer Dorothy West on their infamous journey to Soviet Russia to shoot a film about North American anti-Black racism in 1932. The film about the US history of racial oppression was ultimately never made, but the women stayed in the Soviet Union for several months, travelling to the Soviet republics, meeting famous Soviets, and experiencing Soviet modernization. Looking at the travel writings, correspondence, and memoirs of Thompson and West through the lens of intersectionality, this article analyses the women’s distinctly gendered experiences and their experience of socialist women’s liberation movements. It argues that a close reading of the literary writing, travel notes, letters, and memoirs and their biographical trajectories after they returned to the United States reveals how their experiences in the Soviet Union created a feminist consciousness within the two women that crucially altered their political and personal views of Black women’s agency and significantly altered their life trajectories.
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Wiedlack, Katharina. "A feminist becoming? Louise Thompson Patterson’s and Dorothy West’s sojourn in the Soviet Union." Feminismo/s, no. 36 (December 3, 2020): 103. http://dx.doi.org/10.14198/fem.2020.36.05.
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This article follows the socialist activist Louise Thompson (later Patterson) and the writer Dorothy West on their infamous journey to Soviet Russia to shoot a film about North American anti-Black racism in 1932. The film about the US history of racial oppression was ultimately never made, but the women stayed in the Soviet Union for several months, travelling to the Soviet republics, meeting famous Soviets, and experiencing Soviet modernization. Looking at the travel writings, correspondence, and memoirs of Thompson and West through the lens of intersectionality, this article analyses the women’s distinctly gendered experiences and their experience of socialist women’s liberation movements. It argues that a close reading of the literary writing, travel notes, letters, and memoirs and their biographical trajectories after they returned to the United States reveals how their experiences in the Soviet Union created a feminist consciousness within the two women that crucially altered their political and personal views of Black women’s agency and significantly altered their life trajectories.
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Frühwirth, Timo, Philipp Bechtold, Elisabeth Güner, and Marie-Theres Krutner. "‘For better or for worse, there is history, there is the book and then there's the movie’: Foregrounding and Marginalizing African American Women in the Film Hidden Figures (2016)." European Journal of Life Writing 10 (September 8, 2021): WLS77—WLS105. http://dx.doi.org/10.21827/ejlw.10.37914.
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This paper critically examines the representation of gender and race in the biographical drama film Hidden Figures (2016), directed by Theodore Melfi. The film is based on Margot Lee Shetterly’s nonfiction book of the same title, which spotlights previously hidden figures in US history: the black female mathematicians who worked in the early US space program. The movie was released to critical acclaim and embraced by audiences as empowering African American girls. At the same time, the film was criticized for including a ‘white savior’ scene in which the black female protagonists are marginalized.
 After providing background information on Shetterly’s book and the film’s critical reception, this paper conducts a close formal analysis of a pivotal sequence in the film, which is compared to the events told in the nonfiction book. To shed light on the power structures that the film sequence projects, the results of this analysis are, subsequently, related to critical theoretical approaches to Hollywood cinema, as well as to Sara Ahmed’s concept of ‘affective economies.’ In conclusion, we argue that Hollywood filmmakers’ expectations about the desires of ‘mainstream’ audiences work to perpetuate the repression of previously repressed herstory on the ‘silver screen.’
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Desjardins, Molly. "‘A mirror to the room’: Pyer Moss, specular strategy and Black Lives Matter." Fashion, Style & Popular Culture 8, no. 1 (2021): 21–36. http://dx.doi.org/10.1386/fspc_00064_1.
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Drawing on Walter Benjamin’s version of historical materialism and with reference to the concept of despecularization from psychoanalytic film theory, this article looks at the historical and cultural significance of Pyer Moss’s Spring/Summer 2015 fashion show, where Kerby Jean-Raymond, the artist and designer behind the label, used the runway to bring attention to state-enforced violence against Black men and women.
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Stevenson, A. E. "A Sleight of Hair." Feminist Media Histories 6, no. 4 (2020): 13–41. http://dx.doi.org/10.1525/fmh.2020.6.4.13.
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This essay considers the presence of Black women’s hair as a necessary fact of embodiment that disrupts postfeminist romantic comedies. It focuses on Something New (2006), notable as the first film in which the director, producer, writer, and star were all Black women, arguing that the ontological ruptures created by Kenya, the main character, disrupt the film’s neat classification into the postfeminist romantic comedy genre. The article argues that the Black female body, through the signifier of Black natural hair, invites a chaos into the narrative that makes the film’s contribution to the genre invisible. This calls for a critique of the social order that the genre treats as essential to its foundation.
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Panuju, Redi. "Hidden Moral Messages in Indonesian Horror Film (Analysis of Palasik Film)." International Journal of Social Sciences and Humanities Invention 6, no. 2 (2019): 5273–81. http://dx.doi.org/10.18535/ijsshi/v6i2.03.
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This article discusses implicit moral messages in the Palasik film. This film is based on a myth from West Sumatra society as a creature invented by someone who is a Black magician looking to live long in the world. At night, while looking for food, Palasik let’s go of his head and floated in the air. Palasik food is a fetus that is in the womb of his mother. Stories like this make film creators unable to avoid the element of violence in visualization. As a result, many criticisms of this film consider it to be extreme, especially at the moment when Palasik is preying on a fetus in the womb and blood is splattered everywhere. Also, the visualization of explosions for women who have just given birth by first pouring gasoline on them is considered excessive. In general, horror films get criticized because of the content of pornography and violence in them. The crucial question is whether or not the Palasik film does not contain a moral message? This study uses a narrative analysis approach. Data was obtained through in-depth observations of the story of the film arranged from scene to scene. The author interprets the film scene after scene and concludes the moral message hidden in the story. The results showed that the Palasik film conveyed many moral messages, although not explicit. For example, it conveys that collective unity can defeat evil, excessive love can make a person less alert to something bad around them, aggressiveness is formed based on habits step by step, revenge has made humans lose their humanity (especially for invented creatures like Palasik which are certainly more destructive), and power-hungry humans are willing to serve Satan in order to achieve that power.
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Anderson, Katie Elizabeth. "Film as a reflection of society: interracial marriage and Stanley Kramer’s Guess Who’s Coming to Dinner in late 1960s America." SURG Journal 4, no. 1 (2010): 23–29. http://dx.doi.org/10.21083/surg.v4i1.1105.
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This paper explores the debate of whether Hollywood films act as influential and progressive forces in a society, or do they serve as a larger reflection of that society. I examine Stanley Kramer’s film Guess Who’s Coming to Dinner (1967), about an interracial marriage between a black man and a white woman. Was the film progressive for its time, or was it reflective of the social attitudes in late 1960s America? I argue that although there are aspects of the film that can be construed as progressive and influential for the era, the film more accurately serves as a reflection of the larger socio-political context of 1960s America in regards to both attitudes of opposition and acceptance of interracial marriage. Furthermore, a brief comparison is also made between the film and contemporary issues surrounding race relations in 21st Century America.
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Piotrowska, Agnieszka. "Who is the author of Neria (1992) – and is it a Zimbabwean masterpiece or a neo-colonial enterprise?" Journal of Screenwriting 11, no. 3 (2020): 287–302. http://dx.doi.org/10.1386/josc_00034_1.
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This article focuses on the Zimbabwean film Neria (1992), arguably one of the most important films in the history of sub-Saharan Africa. Directed by the Black Zimbabwean Godwin Mawuru, it was the first feminist film in Zimbabwe and in the region, highlighting the plight of women who become the property of their brothers-in-law after their husbands die. The article addresses the issues of the origins of the story and the authorship of the screenplay. On the final reel of the film, the story credit names the accomplished Zimbabwean female novelist, Tsitsi Dangarembga; while the screenplay credit names Louise Riber. Riber served as the film’s White American editor and co-producer who, with her husband John Riber, managed the Media for Development Fund in Zimbabwe. The key question of this article is simple: who wrote the screenplay for Neria? Through the physical and metaphorical journey of this research, we discover that the story is based on the personal experiences of Anna Mawuru, the director’s mother. This is the first time that this fact has surfaced. As such, this article also offers some reflections on issues of adaption/translation, particularly in the context of postcolonial collaborations.
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DeAnn Seifert, Melissa. "Who’s got the “Reel” power? The problem of female antagonisms in blaxploitation cinema." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 4–20. http://dx.doi.org/10.33178/alpha.4.01.
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Between 1973 and 1975, films starring Pam Grier and Tamara Dobson such as Cleopatra Jones (Jack Starrett, 1973), Coffy(Jack Hill, 1973) and Foxy Brown (Hill, 1974) introduced leading black women into the predominantly male blaxploitation scene as aggressive action heroines. Within the cinematic spaces of blaxploitation films which featured women as active agents, a racial and sexual divide exists. These films positioned women either inside or outside of gender tolerability by utilising binary constructions of identity based on race, sex and elementary constructions of good and evil, black and white, straight and gay, and feminine and butch. Popular representations of lesbianism and sisterhood within blaxploitation cinema reflect a dominant social view of American lesbianism as white while straight women are consistently represented as black. However, these spaces also constricted black and white female identities by limiting sexuality and morality to racial boundaries. This article seeks to question the unique solitude of these female heroines and interrogate a patriarchal cinematic world where sisterhood is often prohibited and lesbianism demonised.
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Davis, Shardé M., and Timeka N. Tounsel. "Transfiguring Theaters for Disrespectable Leisure: An Ethnography on Black Womxn’s Ratchet Performances in Movie Showings of Girls Trip." Journal of Communication 71, no. 4 (2021): 598–622. http://dx.doi.org/10.1093/joc/jqab016.
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Abstract This ethnographic study considers how Black womxn audiences collectively negotiated the politics of respectability in the movie theater, anecdotally referred to as cinema etiquette, in showings of the film Girls Trip. Data were collected in two local theaters in a Northeastern city using field interviews, follow-up telephone interviews, and participant observation. Findings revealed that Black womxn audiences (from various age groups) embodied an intersectional resistance discourse of disrespectability ( Cooper, 2012, 2017, 2018) through their (non)verbal behaviors and an ecology of the senses (i.e., sight and sound) that were situated at the intersection of ratchetness, playfulness, and informality. In doing so, they created a “homeplace,” making an otherwise uncomfortable and highly regulated public space suitable for their collective spectatorship of the film. We argue that Black womxn’s embodiment of ratchetness is not necessarily a unidimensional endeavor, but rather an ever-evolving, multifaceted resource that enables Black womxn to reach political and pleasurable ends.
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Eisenman, Russell. "College Students Say Mike Tyson Innocent of Rape." Psychological Reports 74, no. 3 (1994): 1049–50. http://dx.doi.org/10.2466/pr0.1994.74.3.1049.
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110 students in a southern university were asked to write down whether they considered Mike Tyson guilty or innocent of rape of the beauty contestant for which he was convicted. Ten had no opinion, but of those who did, 80 thought him innocent and only 20 thought him guilty. Then, after seeing the film “Mike Tyson: The Movie” which showed his background as a juvenile delinquent and mentioned his problems with women, the only students who changed judgments from innocent to guilty were 25 white women. All male students and all 15 black students continued to consider him innocent.
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Matotoka, Motlhatlego Dennis, and Kolawole Olusola Odeku. "Mainstreaming Black Women into Managerial Positions in the South African Corporate Sector in the Era of the Fourth Industrial Revolution (4IR)." Potchefstroom Electronic Law Journal 24 (June 23, 2021): 1–35. http://dx.doi.org/10.17159/1727-3781/2021/v24i0a10734.
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The active participation of Black South African women in the corporate sector is essential for the achievement of equity and diversity. Since 1994 the sector has failed to promote black women into managerial positions despite the existence of the Employment Equity Act 55 of 1998 that requires the equitable representation of previously disadvantaged groups on all occupational levels. Conversely, the managerial positions in the South African corporate sector continue to be dominated by white males and little effort is being made to achieve equity. The paucity of black women persists in the corporate sector during a period in which South Africa, like many other countries, is preparing itself for the fourth industrial revolution, which has broad implications for the sector. Black women are under-represented in the emerging technological environment in South Africa, and this imbalance is further perpetuating the exclusion of black women from managerial positions. This paper argues that the emerging technological environment presents an opportunity for the corporate sector to reflect on the training needs of Black women and prioritise technology in its quest to achieve equity. An increase in the number of black women with technological skills would enhance their prospects of occupying meaningful managerial roles. The corporate sector in South Africa is expected to comply with progressive statutory interventions and policies to advance women in the emerging technological environment who have the right qualifications, experience, and competency to fill the managerial positions from which they were previously excluded. In this paper we examine and analyse the challenges which are hampering the progression of black women into managerial echelons in post-1994 democratic South Africa. In order to present an objective and balanced view, we also present the strides being taken by some corporates (very few of them) to address the problem of the obstacles to the advancement of Black South African women to managerial positions.
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Bradley, Rizvana. "Vestiges of Motherhood: The Maternal Function in Recent Black Cinema." Film Quarterly 71, no. 2 (2017): 46–52. http://dx.doi.org/10.1525/fq.2017.71.2.46.
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While the lack of black femme presence is theorized explicitly with respect to film genres and the canon of American cinema in the work of Kara Keeling, the ontological position of the black femme (whom Keeling understands to be both visually impossible and interdicted yet full of cinematic possibility) has long been a point of interrogation in Black Studies with an extensive critical genealogy. In Saidiya Hartman's book Lose Your Mother: A Journey Along the Atlantic Slave Route, the loss of the black mother animates the historical imagination of transatlantic slavery, just as her loss is irreducibly felt in relation to its afterlife. In the work of Frank B. Wilderson III, there is an explicit rejection of the potential of the black woman within film, specifically the viability of her maternal function, insofar as the black mother remains categorically essential to the construction of black (masculine) subjectivity. In light of the contradictory arc of this genealogy, the current task is not only to theorize the black maternal as an extension of the black femme, but to bring that position into view as the unthought. The black mother tends to be dramatized as the singular figure through which the cinema cultivates a distinctly black visual historiography. Even when placed under narrative erasure or withheld from view, the mother crystallizes a cinematic black aesthetic that fashions and envisions diasporic culture and forms of black collectivity as tied to a speculative and fraught filial genealogy. The critical arc in black narrative cinema over the last ten years from Get Out to Pariah, to Mother of George, and finally to Moonlight insists upon black motherhood as integral to the aesthetics of form and the genre-making capacities of film. One could go so far as to claim that the elements of cinematic form that drive these narratives reflect aesthetic choices that have to do with coloration, shot position, and narrative flashbacks that are themselves bound up with and inflected through the haunting and cipher-like construction of black maternal figures. Furthermore, these films insist upon simultaneously marking and excluding the mother from the emotional drama of black subjective life and its complex and contradictory expressions of intimacy, which have as much to do with the breaking and splintering of familial bonds as bridging gaps. It is clear that the mother sutures these bonds; she is a scar, a visible reminder and remainder of a terrible historicity that cannot be assimilated into the idealization of the American family.
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ISLAM, MD MOHIUL, and Nilufa Akter. "Disney’s Aladdin (2019), the Old Rum in the New Bottle." Ultimacomm: Jurnal Ilmu Komunikasi 12, no. 1 (2020): 72–87. http://dx.doi.org/10.31937/ultimacomm.v12i1.1466.
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Disney Corporation has recently released Aladdin (2019) as their official remake of their own animated Film Aladdin (1992). By making some significant changes in the storyline, Guy Ritchie, the director of the film, tried to create some newness through the actions of the film. But the gender role of the princess Jasmine and the casting of Genie have brought back the same old tendency of the corporation that is the stereotypical representation of the females and racial ethnicity. The princess becomes the victim, and the male rescues the female, and the black becomes the slave. This very study shows how Disney has been doing the stereotyped portrayal of the women and showing the racist attitude towards the dark-skinned people. Since this study is conducted through a textual analysis approach, initially, the dialogues and actions related to the objective of the study have been coded. Then by analyzing the two characters and their dialogues, contexts and related actions, this study explains how Guy Ritchie’s Aladdin (2019) contains the old philosophy of Disney, that is keeping the women inside the house and neglecting the dark-skinned people, which at the end made the film nothing but the old rum in the new bottle.
 Keywords: Females, Genie, patriarchy, portrayal, slavery.
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Vincze, Terez. "Showing the Complexity of the Simple – The Art-puzzle of Hong Sang-soo." Panoptikum, no. 22 (December 17, 2019): 173–88. http://dx.doi.org/10.26881/pan.2019.22.07.
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Renowned South Korean film director, Hong Sang-soo, has shown deep interest in complex (or some might say: confusing) storytelling throughout his entire career. Since modernist art cinema has an affinity with unconventional narrative structures, it is not surprising that an auteur like Hong is attracted to complexity. What is interesting here is that Hong’s (often black and white) films are a kind of analogue answer to the challenges of digital culture, a modernist art cinema version of puzzle films and database narratives. The article analyses the very Hongian strategy of producing auteurist puzzle films by creating confusion on a perceptive and narrative level.
 Firstly, the article summarises how Hong’s unique film making practice not only provides significant (economic, artistic) independence and freedom to the author, but at the same time proves to be a structure that delivers high complexity at a low production cost. Secondly, the article analyses the puzzling techniques used by Hong that work on a perceptual level, and often turn his films into high level memory tests; and how these structures play a part in the “perceptual reeducation” of viewers while also serving as commentaries on cinematic representation. And finally, the article concludes with an analysis of the narrative techniques used by Hong to tell extremely simple stories about the eternal topic of “men want women” in a complex, confusing and compelling way.
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Patriarca, Silvana. "The invisibility of racism: on the reception of Giovanni Vento’s Il Nero and Antonio Campobasso’s Nero di Puglia, 1967-1982." Modern Italy 23, no. 4 (2018): 445–59. http://dx.doi.org/10.1017/mit.2018.31.
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This essay explores attitudes towards home-grown anti-black racism in Italy from the 1960s to the early1980s by focusing on the reception of Giovanni Vento’s Il Nero, a 1965 film that depicts the everyday lives of two biracial Italians born at the end of the Second World War from encounters between Italian women and non-white Allied soldiers, and of Antonio Campobasso’s Nero di Puglia, a partly autobiographical book by one of these biracial Italians, published in 1980. Campobasso’s powerful text, which denounced the hypocrisies of the Republic, received some acknowledgement in the intellectual community, but the lenses that the cultural critics used to interpret the text impeded a foregrounding of the racism that the book denounced. Giovanni Vento’s innovative film, on the other hand, did not even reach the commercial circuit and was also interpreted in leftist circles through a political and aesthetic paradigm that downplayed the specificity of anti-black racism. The article invites a reflection on the legacy that these attitudes have had in shaping the limited sensitivity to racism in contemporary Italy.
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Wilder, JeffriAnne, and Colleen Cain. "Teaching and Learning Color Consciousness in Black Families: Exploring Family Processes and Women’s Experiences With Colorism." Journal of Family Issues 32, no. 5 (2010): 577–604. http://dx.doi.org/10.1177/0192513x10390858.
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Family is regarded as a powerful force in the lives of Black Americans. Often-times, families function as an agent of socialization that counters racism. At the same time, however, Black families can perpetuate skin tone consciousness and bias, or colorism . Although there is an extensive body of revisionist literature on Black families and a growing body of scholarship on the contemporary nature of colorism, there is a dearth of literature addressing the role of Black families in relation to colorism. This research begins to fill this gap by exploring the influence of Black families in the development and maintenance of a colorist ideology and consciousness among Black women. Results of focus group interviews with 26 Black women indicate that color differences are learned, reinforced, and in some cases contested within families, ultimately shaping Black women’s perspectives and experiences with colorism.
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McHugh, Kathleen. "Prolegomenon." Film Quarterly 75, no. 1 (2021): 10–22. http://dx.doi.org/10.1525/fq.2021.75.1.10.
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Kathleen McHugh explores the complex functions of women’s anger in the work and aesthetic circuitry—culture, texts, audience, reviewers—of contemporary feminist filmmakers. For all its ubiquity as a feminist feeling, anger has been little considered critically. While 1970s white theorists of feminine/feminist film aesthetics did not mention anger, feminist lesbian, materialist, and women-of-color critics lamented its absence. Julie Dash’s 1982 Illusions inaugurated an aesthetics of anger from a Black feminist perspective that exemplified the ideas in Audre Lorde’s foundational 1981 essay, “The Uses of Anger.” Drawing from Lorde’s and Sara Ahmed’s ideas about the creative value of feminist anger, together with recent affect theory on “reparative reading” and “better stories,” the essay explores four contemporary directors’ films and media works for how anger shapes their texts and critical reception and cultivates a mode of affective witness in their audiences.
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Fotoh, Corinne, Ahmed Elkhyat, Sophie Mac, Jean Marie Sainthillier, and Philippe Humbert. "Cutaneous differences between Black, African or Caribbean Mixed-race and Caucasian women: biometrological approach of the hydrolipidic film." Skin Research and Technology 14, no. 3 (2008): 327–35. http://dx.doi.org/10.1111/j.1600-0846.2008.00299.x.
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Xavier de Lima, Marília, Maria Bernadette Cunha de Lyra, and Maria Ignês Carlos Magno. "A performance queer na dupla encenação do filme The Watermelon Woman // The queer performance in the double staging of the film The Watermelon Woman." Contemporânea Revista de Comunicação e Cultura 16, no. 1 (2018): 154. http://dx.doi.org/10.9771/contemporanea.v16i1.25959.
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The Watermelon Woman (1996), Cheryl Dunye, é um modelo híbrido de ficção/documentário. A dupla encenação vai da busca de uma atriz negra do cinema mudo ao cotidiano da própria diretora/personagem. Uma associação entre forma e conteúdo permite igualar-se à representação da personagem o deslocamento dos gêneros cinematográficos, tornando o filme uma performance queer, em que a história sobre a vida da mulher-melancia e a realidade de Cheryl se mesclam, dando visibilidade à mulher negra e lésbica./The Watermelon Woman (1996), Cheryl Dunye, is a hybrid movie that is between fiction and documentary model. The double performance goes from the search of a black actress of the silent cinema period to the daily life of the director / character. An association between form and content allows the representation of the character to be equated with the displacement of the cinematographic genres, making the film a queer performance, in which the story about the life of the watermelon woman and the reality of Cheryl merge, giving visibility to the woman black and lesbian.
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Brown, William. "A (mush)room of one’s own: feminism, posthumanism and race in Sofia Coppola’s The Beguiled." Aniki : Revista Portuguesa da Imagem em Movimento 7, no. 1 (2020): 71–95. http://dx.doi.org/10.14591/aniki.v7n1.557.
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The Beguiled (Sofia Coppola, USA, 2017) is one of several recent films to feature mushrooms as a prominent plot device. In this essay, I argue that the use of mushrooms here allows cinema to engage with issues surrounding the Anthropocene, or the period in which capitalist man has shaped the world more than the world has shaped capitalist man. I shall in particular propose that the association between women and fungi suggests that the Anthropocene entails an anthropocentric and patriarchal worldview. That is, The Beguiledsuggests that the Anthropocene is defined specifically by capitalist man – whose world must now be replaced by one that might be deemed feminist and posthuman, not least because of how the women at the film’s all-girls’ private school work with mushrooms to bring down the central male figure, Civil War soldier Corporal John McBurney.
 However, The Beguiled also posits the limits of such a feminist and posthuman world. For despite the film’s Civil War setting, and despite its status as a remake-cum-adaptation of both Don Siegel’s 1971 film of the same name and Thomas P. Cullinan’s source novel, the film only deals with race as at best a structuring absence. Coppola’s (characteristic) refusal to deal directly with race nonetheless allows us to identify the whiteness of those wider issues with which the film deals, namely the Anthropocene, posthumanism, (much) feminism and perhaps cinema itself. In particular, we can draw out this latter suggestion by considering the film’s use of the Madewood Plantation House, which also features in music videos for artists like J. Cole and Beyoncé. For if cinema is a force for the white Anthropocene, it is perhaps in supposedly “unruly” media outside of cinema that black and other feminisms can intersect with posthumanism to emerge as a genuine alternative to the Anthropocene.
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Bigham, Zahna R. "11626 Impact of Preeclampsia on the Incidence of Breast Cancer in the Black Women’s Health Study." Journal of Clinical and Translational Science 5, s1 (2021): 27. http://dx.doi.org/10.1017/cts.2021.473.
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ABSTRACT IMPACT: This study will be the first to explore the relationship between preeclampsia and breast cancer risk using the largest cohort of Black women in the US, and it will guide future research and potentially inform clinical practice to reduce breast cancer disparities in this population. OBJECTIVES/GOALS: Black women are disproportionately impacted by preeclampsia. This disorder induces hormonal changes that may contribute to diseases such as breast cancer. However, there is a lack of clear data on the relationship between preeclampsia and breast cancer, and few previous studies included Black women. This study will work to fill this knowledge gap. METHODS/STUDY POPULATION: We prospectively assessed the association between preeclampsia during pregnancy and risk of breast cancer in 43,040 parous women in the Black Women’s Health Study, a nationwide cohort of Black women who were ages 21 -69 at enrollment in 1995. Through 2017, we confirmed 1,968 incident diagnoses of invasive breast cancer. Approximately 6% of parous women reported a diagnosis of preeclampsia; characteristics of the population at baseline are shown in Table 1. We used multivariable Cox proportional hazards models to estimate hazard ratios (HRs) and 95% confidence intervals (CIs) for risk of breast cancer overall. We used age as the time scale and adjusted for breast cancer risk factors including parity, age at first birth, age at menarche, and body mass index (BMI) at age 18. RESULTS/ANTICIPATED RESULTS: : Compared to parous women without a history of preeclampsia, women with a history of preeclampsia in any pregnancy were not at an increased risk of breast cancer overall (HR 0.98; 95% CI 0.81, 1.18). These preliminary results suggest that history of preeclampsia is not an important risk factor for breast cancer overall in Black women. Our analyses are ongoing to evaluate whether the association may vary by estrogen receptor status or within subgroups of the population defined by age, menopausal status, BMI, and time since last pregnancy. DISCUSSION/SIGNIFICANCE OF FINDINGS: Findings from this study will provide unprecedented knowledge on the association between hypertensive diseases during pregnancy and incidence of breast cancer in the largest cohort of Black women in the U.S.
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Heyde. "Archive Spotlight: The Image of Black Women in Film Advertising as Seen in the BFC/A's Hatch-Billops Collection." Black Camera 4, no. 1 (2012): 255. http://dx.doi.org/10.2979/blackcamera.4.1.255.
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Aflatuni, Abbas, Riitta Kemppainen, Alpo Heinonen, and Tiina Hakonen. "The effects of a non-woven cover in combination with different soil mulches in strawberry cultivation." Agricultural and Food Science 6, no. 5-6 (1997): 371–80. http://dx.doi.org/10.23986/afsci.72800.
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The effects of a non-woven cover and three different soil mulches on the timing of harvest and on the yield of strawberry were examined in two field experiments in northern Finland during 1989-1993. The non-woven cover was used either in spring or in both autumn and in spring. Non-covered plants served as controls. Depending on the year, plants covered in spring alone gave a significantly earlier (4 to 9 days) marketable yield than did uncovered plants. The non-woven cover had no effect on marketable yield at Sotkamo but at Rovaniemi it increased the yield, especially in cold years. The use of cover decreased the amount of mouldy berries. At both experimental sites, a significantly higher yield was obtained from beds covered with soil mulches than from uncovered beds. White-on-black film delayed the yield by 2 to 4 days in comparison with black or Mypex film.
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Ponnuswami, Meenakshi. "Contemporary Black and Asian Women Playwrights in Britain. By Gabriele Griffin. Cambridge Studies in Modern Theatre. Cambridge: Cambridge University Press, 2003; pp. x + 291. $75 cloth." Theatre Survey 46, no. 2 (2005): 317–19. http://dx.doi.org/10.1017/s0040557405240206.
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Gabriele Griffin's study of black and Asian women playwrights in contemporary Britain fills a gap in British theatre studies. Although a comprehensive study of black British theatre has yet to see print, two developments have, in the past decade or so, begun to stimulate critical attention in the field. One is the publication of plays by black and Asian authors, including collections of plays exclusively by women (such as Khadija George's edition of Six Plays by Black and Asian Women Writers of 1993), as well as the more systematic inclusion of works by writers such as Winsome Pinnock and Trish Cooke in anthologies of plays by new British dramatists. A second is the work of British cultural-studies scholars and sociologists during the same period, which has offered theatre historians some new approaches and challenges: Kobena Mercer's Welcome to the Jungle (1994); Catherine Ugwu's Let's Get It On (1995); Baker et al.'s Black British Cultural Studies (1996); Heidi Mirza's edited volume Black British Feminism (1997)—not to mention a vast body of work by Stuart Hall, Avtar Brah, Paul Gilroy, and others. Still, as Griffin notes at the outset, while immigrant and second-generation novels and films have received attention and accolades, black British theatre has tended to be ignored except by a handful of feminist theatre scholars.
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Baldwin, Davarian L. "‘I WILL BUILD A BLACK EMPIRE’: THE BIRTH OF A NATION AND THE SPECTER OF THE NEW NEGRO." Journal of the Gilded Age and Progressive Era 14, no. 4 (2015): 599–603. http://dx.doi.org/10.1017/s1537781415000407.
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In the penultimate scene to D. W. Griffith's The Birth of a Nation, the normally composed and gentlemanly mulatto Lieutenant Governor Silas Lynch can no longer contain himself. He has become the leader of a rising “black South.” “[D]runk with wine and power,” his maddening ambition for political dominion seethes over into the ultimate desire that seems to drive any black male quest for authority throughout the film: Lynch exclaims, “I want to marry a white woman!” True to the deceptive nature of the duplicitous mulatto, he does not want to marry just any white woman but Elsie, the daughter of his abolitionist mentor, Austin Stoneman. Though Elsie comes from a lineage of radical advocates for equal rights, a proposal of marriage goes too far and she jerks away, offering him only a “horsewhipping for his insolence.” Lynch is outraged. Her rejection sends him into a lecherous frenzy, determined to abduct Elsie if she will not come willingly. For a moment, he regains some composure and with a snide veneer of arrogance, saunters over to the window and pulls back the curtain to reveal white residents cowering in fear to an overwhelming and bloodthirsty reign of black terror. Lynch points outside and proclaims: “See! My people fill the streets. With them I will build a Black Empire and you as a Queen shall sit by my side.”
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Carroll, Rachel. "Black Victorians, British television drama, and the 1978 adaptation of David Garnett’s The Sailor’s Return." Journal of Commonwealth Literature 54, no. 2 (2017): 207–24. http://dx.doi.org/10.1177/0021989416687350.
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The under-representation of Black British history in British film and television drama has attracted significant public debate in recent years. In this context, this article revisits a critically overlooked British film adaptation featuring a woman of African origin as a protagonist in a drama set in Victorian England. The Sailor’s Return (1978), directed by Jack Gold, is an adaptation of a historical fiction written by David Garnett and first published in 1925. This article aims to situate the novel and its adaptation in three important contexts: set in rural Dorset in 1858, the narrative can be considered in the context of Victorian attitudes to people of African origin; written by a member of the Bloomsbury circle, the novel is informed by modernist perspectives on the legacies of the Victorian era; broadcast to a popular audience in the late 1970s, the film can be located in a politically progressive tradition of British television drama. Approached in this way, this multiply mediated cultural representation serves to generate insights into the treatment of racism in liberal left cultural production, from early twentieth century modernist milieus to the anti-racism of the British left in the 1970s. These contexts will inform close textual analysis of two motifs — the depiction of the countryside, and the role of costume — which have proved central to ongoing debates about racialized constructions of national identity in British historical film genres. This article will argue that the 1978 film adaptation of The Sailors Return presents a significant precedent when considering what Stephen Bourne has termed the “invisibility” of Black British history in British historical film.
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White, Patricia. "Bodies That Matter: Black Girlhood in The Fits." Film Quarterly 70, no. 3 (2017): 23–31. http://dx.doi.org/10.1525/fq.2017.70.3.23.
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In fall 2011, in one of the most widely publicized recent incidents of MPI (mass psychogenic illness), fifteen students—all but one of them girls—in the town of Le Roy in upstate New York started displaying tics, twitches, involuntary vocalizations, and other uncontrollable symptoms. It began, not incidentally, with the cheerleaders, but soon spread, capturing wide media attention. Erin Brockovich was called in to investigate environmental toxicity. Soon others, including adult women, were affected. Many remained symptomatic for months. The girls’ appearances on daytime talk shows and their own use of social media were thought to have spread the “mental infection” all the more effectively, and in fact, the symptoms declined when the coverage abated. Symptoms spread by anxiety and identification can afflict any tight community under stress—whether from nerves or sociopolitical pressures or both. What does protest signify in the film's vision of an African American dance troupe afflicted by MPI in the era of #BlackLivesMatter? The irruption of uncontrollable behavior, the lack of individual responsibility, and the possibility of mass participation combine to make the fits potent signs of black bodies as, and under, threat. Director Anna Rose Holmer's debut feature, The Fits (2016), depicts black girlhood through the rhythms of cinematic form and bodies in motion, maintaining a close attention that at the same time keeps its distance, a dynamic that characterizes the film's themes, approach, and the working relationship between the young white director and the youth in the film.
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Ukadike, N. Frank. "Reclaiming Images of Women in Films from Africa and the Black Diaspora." Frontiers: A Journal of Women Studies 15, no. 1 (1994): 102. http://dx.doi.org/10.2307/3346615.
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