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Journal articles on the topic 'Women, Black, in popular culture'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

Johnson, Adeerya. "Hella Bars: The Cultural Inclusion of Black Women’s Rap in Insecure." Open Cultural Studies 6, no. 1 (2022): 76–87. http://dx.doi.org/10.1515/culture-2022-0144.

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Abstract The musical supervision of HBO’s insecure sonically maps various representations of Black women’s connections to hip-hop music as a site of autonomy, agency, and authenticity. Importantly, the variety of Black female rappers who are featured in seasons 1–3 of insecure connects nuanced and contemporary representations of Black millennial women’s understanding of Black womanhood, sex, friendship, love, and relationships. I argue that the influence of Issa Rae’s perception and connections to hip-hop and the placement of songs in insecure supports a soundtrack that takes on a hip-hop femi

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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 an

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Neal, Ronald B. "Shayne Lee: Erotic Revolutionaries: Black Women, Sexuality, and Popular Culture." Journal of African American Studies 17, no. 3 (2012): 402–4. http://dx.doi.org/10.1007/s12111-012-9223-4.

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Nogueira, Martha Maria Brito. "Empowerment of Black Women: Culture, Tradition and Protagonism of Dona Dió do Acarajé in the "Washing the Alley"." Mosaico 10, no. 2 (2017): 174. http://dx.doi.org/10.18224/mos.v10i0.5855.

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Abstract: the objective of this study is to deconstruct the racist and sexist ideologies that make invisible the presence of black women in the various spaces of society, especially in the cultural field, seeking to show their actions to promote and establish new positions. In order to do so, it analyzes the trajectory of Dona Dió do Acarajé, a black woman of quilombola descent who excelled in several popular demonstrations in the city of Vitória da Conquista in the last decades of the twentieth century, becoming a symbol of black culture. These questions will be analyzed from the feminist the

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Rodriguez, Mario. "“Blame it on the Black Star”: Black Holes in Culture." IAFOR Journal of Cultural Studies 8, no. 2 (2023): 5–30. http://dx.doi.org/10.22492/ijcs.8.2.01.

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“Black holes” continue to compel the human imagination, as demonstrated by the public reception of the first images of a black hole produced by the Event Horizon Telescope in 2019 or the success of Hollywood science fiction movies like Christopher Nolan’s 2014 film Interstellar that depicts what it might be like to fall into one. My study traces the discovery of “black holes” in the 20th century – collapsed stars with so much gravity that nothing can escape them, not even light – regarding how scientists talked about them and their emergence in popular culture. This begins with discussing how

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Thompson Moore, Katrina. "The Wench: Black Women in the Antebellum Minstrel Show and Popular Culture." Journal of American Culture 44, no. 4 (2021): 318–35. http://dx.doi.org/10.1111/jacc.13299.

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Boylorn, Robin M. "Dark-Skinned Love Stories." International Review of Qualitative Research 5, no. 3 (2012): 299–309. http://dx.doi.org/10.1525/irqr.2012.5.3.299.

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In recent years academic scholarship and the public imagination has focused on the love lives (or lack thereof) of black women. In response and reaction to the recent so-called black love epidemic I interrogate claims about black women's failure at love and critique the ways that black women are often blamed for their cultural positionality. Framing my personal story with Toni Morrison's fictional character Pecola Breedlove, I discuss the role of sexism and colorism in the context of heterosexual love narratives. I use autoethnography, references to popular culture, and interdisciplinary schol

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Różalska, Aleksandra. "Transgressing the Controlling Images of African-American Women? Performing Black Womanhood in Contemporary American Television Series." EXtREme 21 Going Beyond in Post-Millennial North American Literature and Culture, no. 15 (Autumn 2021) (November 20, 2021): 273–90. http://dx.doi.org/10.7311/pjas.15/2/2021.07.

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Drawing from intersectionality theories and black feminist critiques of white, masculinist, and racist discourses still prevailing in the American popular culture of the twenty-first century, this article looks critically at contemporary images of African-American women in the selected television series. For at least four decades critics of American popular culture have been pointing to, on the one hand, the dominant stereotypes of African-American women (the so-called controlling images, to use the expression coined by Patricia Hill Collins) resulting from slavery, racial segregation, white r

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Farrugia, Rebekah, and Kellie D. Hay. "Wrecking rap's conventions: the cultural production of three daring Detroit emcees." Popular Music 37, no. 1 (2017): 63–80. http://dx.doi.org/10.1017/s0261143017000575.

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AbstractThis article profiles the music of three politically motivated hip hop emcees. It combines textual and musicological analysis with ethnographic data to examine the ways in which these women use music to empower themselves and to contribute to meaningful, positive change in post-industrial, post-bankruptcy Detroit. These narratives are significant because they combat the dominant, hegemonic two-dimensional representations of African American women that are epitomised in commercial hip hop and popular culture at large. Further, in a context where art and activism are connected, their wor

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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 re

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Mosley, Angela M. "Women Hip-Hop Artists and Womanist Theology." Religions 12, no. 12 (2021): 1063. http://dx.doi.org/10.3390/rel12121063.

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Hip-Hop is a cultural phenomenon steeped in the conservative ideologies of individualism and capitalism. It sells a lifestyle and its most recent surge of rap music and popular culture spotlights Black women more than ever before. Although Black women have always been significant piece in Hip-Hop culture, their artistry has jolted its systemic capitalism and patriarchy to engage intersectionality through a discourse of classism, sexual orientation, and racism while upending White supremacy’s either:or binary. Applying the principles of Womanism, Black female Hip-Hop artists negotiate cultural

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Nelson, Angela M. "“At This Age, This Is Who I Am”: CeCe Winans, Exilic Consciousness, and the American Popular Music Star System." Open Cultural Studies 2, no. 1 (2018): 475–85. http://dx.doi.org/10.1515/culture-2018-0043.

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Abstract My paper addresses the intersections of the American popular music star system, Black female Gospel singers, Gospel Music, and the exilic consciousness of the Sanctified Church with special attention to life and music of Gospelwoman Priscilla Marie “CeCe” Winans Love. I argue that CeCe Winans and the marketing campaign for Winans’ album Let Them Fall in Love, is indicative of the encroachment of American popular music’s star system into self-elected “exiled” Gospel Music and into the lives of “exiled” Gospelwomen. Gospelwomen are 20th and 21st century urban African American Protestant

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Pickette, Samantha. "The Last Black (Jewish) Unicorn: Tiffany Haddish’s Black Mitzvah and the Reframing of Jewish Female Identity." Studies in American Jewish Literature (1981-) 41, no. 2 (2022): 165–84. http://dx.doi.org/10.5325/studamerijewilite.41.2.0165.

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Abstract This paper explores the work of Tiffany Haddish, the Black Jewish stand-up comedian and actress, both in terms of Haddish’s contributions to the well-established canon of Jewish female comedy and in terms of the ways that Haddish’s work paves new ground. Through an analysis of Haddish’s 2019 Netflix special, Black Mitzvah, this paper first traces the stylistic and aesthetic methods that connect Haddish’s comedy with that of her Jewish peers (both historical and contemporaneous) and then considers the areas where Haddish breaks new ground in her assertion of a non-paradigmatic Jewish i

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Mack, Kimberly. "“What Are You Gonna Tell Her?”: The Power of Black Women’s Narratives." AMP: American Music Perspectives 1, no. 2 (2020): 151–58. http://dx.doi.org/10.5325/ampamermusipers.1.2.0151.

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ABSTRACT This article focuses on the power of narrative, specifically Black women’s stories, to shift ideas that circulate in American culture about popular music and the artists who create these works. Black women in country and Americana music, such as Mickey Guyton and Rhiannon Giddens, are using their voices to reclaim their rightful places in these predominantly white music scenes. There has also been an impressive stretch of recent popular music scholarship by Black women. Narratives shape musical genres, music scenes, artists’ music and personal histories, and music journalism and criti

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Reyes, Laurent, Jarmin Yeh, and H. Shellae Versey. "BLACK PLACEMAKING: THE BODY, HOME, AND PUBLIC SPACE THROUGH THE LENS OF OLDER WOMEN." Innovation in Aging 6, Supplement_1 (2022): 202–3. http://dx.doi.org/10.1093/geroni/igac059.809.

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Abstract African American communities are frequently depicted as victims of urban conditions. However, a rich culture of grassroots community development and organizing, often led and stewarded by Black women, exists. Many of these efforts involve enhancing economic, political, and educational opportunities and centering ethics of care and caregiving. This is the notion of Black placemaking, which is explicitly community-focused, shaping the social fabric of everyday life and allowing for the development of Black vernacular spaces that became vital to African-American culture. This paper exami

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Chamberlain, Edward A. "Buy Black: How Black Women Transformed US Popular Culture. Ed. Aria S.Halliday. U of Illinois P, 2022. 208 pp. $24.95 paper." Journal of Popular Culture 56, no. 1 (2023): 215–17. http://dx.doi.org/10.1111/jpcu.13241.

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Evans, Stephanie Y. "African American Women Scholars and International Research: Dr. Anna Julia Cooper’s Legacy of Study Abroad." Frontiers: The Interdisciplinary Journal of Study Abroad 18, no. 1 (2009): 77–100. http://dx.doi.org/10.36366/frontiers.v18i1.255.

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In this article, a little-known but detailed history of Black women’s tradition of study abroad is presented. Specifically, the story of Dr. Anna Julia Cooper is situated within the landscape of historic African American students who studied in Japan, Germany, Jamaica, England, Italy, Haiti, India, West Africa, and Thailand, in addition to France. The story of Cooper’s intellectual production is especially intriguing because, at a time when Black women were just beginning to pursue doctorates in the United States, Anna Cooper chose to earn her Ph.D. from the Sorbonne in Paris. In this article,

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Peterson-Salahuddin, Chelsea. "Posting Back: Exploring Platformed Black Feminist Communities on Twitter and Instagram." Social Media + Society 8, no. 1 (2022): 205630512110690. http://dx.doi.org/10.1177/20563051211069051.

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Black women have historically used unconventional, everyday spaces as sites of Black feminist intellectual production. Today, one of the most common spaces in which Black women produce intellectual thought is social media. However, very little research has broadly examined the dynamics of these online communities for Black feminist theorizing beyond individual hashtag conversation. In this study, I conducted 21 semi-structured, in-depth interviews with individuals who engaged in eight different Black feminist hashtag conversations across Twitter and Instagram to expand our current understandin

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Click, Melissa A., and Sarah Smith-Frigerio. "One Tough Cookie: Exploring Black Women’s Responses to Empire’s Cookie Lyon." Communication, Culture and Critique 12, no. 2 (2019): 287–304. http://dx.doi.org/10.1093/ccc/tcz007.

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Abstract The premier of Empire in January 2015 drew 9.8 million viewers and became FOX's highest-rated series debut in three years. In this episode, we are introduced to the terminally-ill CEO of Empire Entertainment, Lucious Lyon (Terrence Howard), who must decide which of his three sons will inherit the family business. To further complicate the decision, his ex-wife, Cookie (Taraji P. Henson), is released from prison after 17 years. The strength of the performances from the main cast, and those of celebrity guest stars, bolster the drama that unfolds, explaining why Empire was incredibly po

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FRISKEN, AMANDA. "Obscenity, Free Speech, and “Sporting News” in 1870s America." Journal of American Studies 42, no. 3 (2008): 537–77. http://dx.doi.org/10.1017/s0021875808005562.

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The interventions of anti-vice crusader Anthony Comstock into 1870s popular illustrations created some surprising – and largely unintended – consequences. Not only did the man who defined modern American censorship goad into existence the radical free speech movement, but his manipulations of 1870s visual culture also heightened racial stereotyping in public print. His behind-the-scenes negotiations led illustrated newspaper editors to erase white sexuality, which they replaced with stories of interracial rape of white women by black men. In fostering both the rise of the free press movement a

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Tomc, Sandra. "“Withersoever We Turn Our Eyes”: Reimagining Democratic Writing in Nineteenth-Century Print Culture." American Literary History 37, no. 1 (2025): 147–59. https://doi.org/10.1093/alh/ajae135.

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Abstract This essay studies three books on nineteenth-century US print culture: D. Berton Emerson’s American Literary Misfits: The Alternative Democracies of Mid-Nineteenth-Century Print Cultures (2024), Bryan Sinche’s Published by the Author: Self-Publication in Nineteenth-Century African American Literature (2024), and Susan J. Stanfield’s Rewriting Citizenship: Women, Race, and Nineteenth-Century Print Culture (2022). Examining print micro-cultures, from self-published sermons to obscure urban novels and pamphlets promoting true womanhood among Black men and women, these scholars invest in

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Callahan, Kathleen. "A Femininomenon: Leadership Development Through Representation On‐Screen." New Directions for Student Leadership 2025, no. 185 (2025): 67–74. https://doi.org/10.1002/yd.20658.

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ABSTRACTHistorically, films and television centered men, but there has recently been a shift toward focusing on women and people of color (and women of color) in leading roles. Films and shows like Black Panther, Barbie, and Ashoka reflect this trend, offering more complex stories and diverse representation. Despite progress, stereotypical gender roles persist in many portrayals, but contemporary films and television shows increasingly challenge these norms. The shift toward intersectional narratives in pop culture encourages broader views of leadership and identity. When popular culture predo

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Field, Allyson Nadia, and Hayley O’Malley. "Histories and Futures of Black Feminist Film Curation." Feminist Media Histories 10, no. 2-3 (2024): 87–113. http://dx.doi.org/10.1525/fmh.2024.10.2-3.87.

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Highlighting past and present film curatorial and programming projects by Black women, the roundtable conversation printed here featured Ina Archer, Cheryl Chisholm, Monica Freeman, Jennifer Lawson, O.Funmilayo Makarah, and Yvonne Welbon. Moderated by Allyson Nadia Field and Hayley O’Malley, the conversation began at the 2023 Sojourner Truth Festival of the Arts in Chicago and offered an occasion for curators of Black feminist film and media work to reflect on their careers and the labor involved in connecting films with audiences. Even as Black feminist media has gained more critical and popu

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Larasati, Ika Ayu. "Formulating Black Womanhood: A Study on Beyoncé’s Hip-Hop Song Lyrics in Beyoncé Platinum Edition Album." Rubikon : Journal of Transnational American Studies 3, no. 2 (2019): 12. http://dx.doi.org/10.22146/rubikon.v3i2.34267.

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This article aims at understanding the Black womanhood concept through Hip-Hop song lyrics, since song lyrics are not only a part of art but also a media to express people’s feelings, education, therapy and entertainment. This article also helps the readers to understand that sexuality portrayed in Hip-Hop song lyrics stands for something and has a function because music is related to the social background, message, function, and effect generated from the artwork.The qualitative method and interdisciplinary approach are used in conducting this article, which involves the literature, history, c

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Thompson, Sheneese, and Franco Barchiesi. "Harriet Tubman and Andrew Jackson on the Twenty-Dollar Bill: A Monstrous Intimacy." Open Cultural Studies 2, no. 1 (2018): 417–29. http://dx.doi.org/10.1515/culture-2018-0038.

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Abstract The controversy surrounding the announcement by the US Treasury, in April 2016, that the portraits of Harriet Tubman and Andrew Jackson will “share” the twenty-dollar bill-which the latter has embodied for almost a century-highlights a glaring incongruity: A formerly enslaved black woman and abolitionist leader is being placed in iconic proximity with an exemplary historical representative of the United States as a national experiment built on whiteness, slavery, and genocide. Our essay revolves around three basic questions: Why Tubman? Why Jackson? Why Now? The Treasury’s decision an

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Lydner, Rashana Vikara. "‘Mwen enmé’w’ (I love you): Black Queer Women's Social Positioning in the French Caribbean." Gender and Language 19, no. 1 (2025): 1–28. https://doi.org/10.3138/gl-2025-1001.

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Situated amid work on gender, sexuality, popular culture, and creolistics, this article examines how Lycinaïs Jean, a zoukeuse and fusion artist, navigates identity construction as a woman who loves women (WLW) in the French Caribbean zoukscape. Through a discourse analysis of her social media posts, interviews, and music, the discussion shows how Lycinaïs strategically positions her songs as songs about universal love phenomena rather than queer love. Furthermore, it illustrates how she rejects labels associated with her sexuality, opting instead to navigate her identity similarly to the ideo

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Adeyemi, Kemi. "The Practice of Slowness." GLQ: A Journal of Lesbian and Gay Studies 25, no. 4 (2019): 545–67. http://dx.doi.org/10.1215/10642684-7767767.

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This essay understands slowness as an embodied method that black queer women mobilize to articulate their place within gentrifying neighborhoods oriented around speed and its by-product: white heteromasculinity. It follows the women as they participate in a queer dance party dedicated to slow jams, examining how they use slowness to theorize and take pleasure in the party as black queer women. As the party gets more popular, however, the music gets faster, the crowd gets whiter, and black queer women’s deployments of slowness shift as they see the party capitulating to a model of success in th

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Boluwaduro, Stephen Olabanji. "Negotiating body, sex, and self-fashioning in Fújì music." Sociolinguistic Studies 17, no. 1-3 (2023): 159–79. http://dx.doi.org/10.1558/sols.24125.

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A growing body of literature interrogating the voluptuous rendering of human sexuality in popular culture has focused on sex scripting in Western films and the commodification of women and their representations in popular media. However, exploration of how linguistic metaphors and innuendoes are deployed to affirm or contest expressions of desires that are sacred, sensitive, or taboo in Fuji music has received little scholarly attention. Of what significance is contesting social structure on sexuality to Fuji as a Nigerian popular musical genre? This empirical study explores this question whil

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Justice, Miles. "The Modern Synthesis of Josephine Baker and Carmen Amaya." Música Oral del Sur, no. 17 (December 8, 2020): 269–301. https://doi.org/10.5281/zenodo.4745314.

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African American dancer, Josephine Baker, and Spanish Gitana dancer Carmen Amaya, synthesized various identity categories in what I call modern synthesis, an idea expanded on from Monica Miller’s article, “The Black Dandy as Bad Modernist.” Expanding on various scholars including Brenda Dixon Gottschild, I argue Baker emerged from a tragic/comic context of African American performance which developed from slavery to vaudeville while Amaya came from flamenco, which, according to William Washabaugh in his Flamenco: Passion, Politics, and Popular Culture, exhibits simultaneous o

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Buggs, Shantel Gabrieal. "Dating in the Time of #BlackLivesMatter: Exploring Mixed-race Women’s Discourses of Race and Racism." Sociology of Race and Ethnicity 3, no. 4 (2017): 538–51. http://dx.doi.org/10.1177/2332649217702658.

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The author explores the discourses and logics that self-identified multiracial and multiethnic female online daters use to explain their own responses to social justice movements around race and racism in the United States. These women mobilize stances on the social movement Black Lives Matter (BLM) as a metric of racial progressiveness, articulating their own political views on race. Furthermore, mixed-black women in particular describe using attitudes toward the BLM movement as a way to vet potential dating partners. The implementation of BLM as a tool in the contemporary dating “toolkit” su

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Stanger, Camilla. "Bodies in a Frame: Black British, Working Class, Teenage Femininity and the Role of the Dance Class." Sociological Research Online 18, no. 2 (2013): 204–13. http://dx.doi.org/10.5153/sro.3041.

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Historically the working class, black, female body has been defined by its sexuality and socially constructed as an object for heterosexual consumption; this article is concerned with how this manifests itself for young British women in educational settings today. I will argue that this historical bodily construction has been compounded for young women in this context by a contemporary popular culture which frames, glamorises and hetero-sexualises black female bodies. Drawing on the work of Judith Butler and Michel Foucault, I will suggest that girls who perform a Black British, working-class

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Allen, Stephanie Andrea. "“I Am a Lesbian”: Black Queer Subjectivities in The Watermelon Woman and Pariah." Women Gender and Families of Color 10, no. 2 (2022): 118–40. http://dx.doi.org/10.5406/23260947.10.2.02.

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Abstract In 2011, cultural critic Nelson George asserted, “Pariah is important, not simply as a promising directorial debut, but also as the most visible example of the mini-movement of young black filmmakers telling stories that complicate assumptions about what ‘black film’ can be by embracing thorny issues of identity, alienation and sexuality.” However, filmgoers, myself included, were offended at the New York Times comparison of Pariah to Lee Daniel's Precious (2008), another “Black” movie, but with such radically different content that one wonders if the reviewers actually watched Dee Re

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GORZELANY-MOSTAK, DANA. "Keepin’ It Real (Respectable) in 2008: Barack Obama's Music Strategy and the Formation of Presidential Identity." Journal of the Society for American Music 10, no. 2 (2016): 113–48. http://dx.doi.org/10.1017/s1752196316000043.

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AbstractFrom the earliest elections with popular participation to the present day, American presidential candidates have harnessed music's connotative potential and affective properties in a variety of campaign contexts. But in a corporatized electoral landscape where the fields of politics and popular culture are inextricably intertwined, and every aspect of the candidate's public and private life is subjected to intense scrutiny enabled by the emergence of Web 2.0 technologies, nontraditional texts (such as music) play an increasingly significant role in candidate identity formation. Adding

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Rachmawati, Lusiana, Rosita Ambarwati, and Arri Kurniawan. "White Framing To The Black: The Case of Racism in USA Legals in The Netflix Series When They See Us (2019)." Edulitics (Education, Literature, and Linguistics) Journal 9, no. 2 (2024): 154–64. https://doi.org/10.52166/edulitics.v9i2.7955.

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Racism is a social problem that widespread in society. The existence of racial or ethnic differences makes some people receive discrimination. The fact that race is still relevant in modern society. One of the popular social issues related to racism occurred in New York, America, namely the Central Park Five case. In this case, five black and latina teenagers were victims of wrongful arrest by American police for the alleged attempted rape and murder of a white American woman. The purpose of this research is to analyze the racism by white people especially police and people in American law aga

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Sands, Victoria. "“This Honestly Breaks My Heart”: Black Lives Matter and Reshaping Post-Feminist, Post-Racial Intimacy in Girls’ Influencer Economies." TOPIA: Canadian Journal of Cultural Studies 48 (March 1, 2024): 134–54. http://dx.doi.org/10.3138/topia-2023-0031.

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Young women’s digital networks have been structured through a carefully cultivated sense of connection and relatability, allowing users to brand themselves as “influencers” and create lucrative beauty and lifestyle content for viewers. Drawing on Lauren Berlant’s theory of the “intimate public,” wherein closeness among women is engineered through the implicit mutual attachment to a shared feminine culture, girls’ studies scholars can consider how influencer content enables girls’ digital intimate publics in a post-feminist media culture wherein girls work to cultivate this sense of shared expe

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Ogunyemi, Folabomi L. "Trauma and Empowerment in Tina McElroy Ansa’s Ugly Ways." Journal of Black Studies 52, no. 3 (2021): 331–52. http://dx.doi.org/10.1177/0021934720986424.

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Ugly Ways (1993) by Tina McElroy Ansa has been overlooked as a significant contribution to African American feminist literary fiction. This paper performs a close reading examining the novel’s thematic intersection of Black feminist theory and trauma theory. Part one of this essay defines Black feminist theory and outlines key concepts of Black feminist thought. Parts two and three focus on the protagonist, Esther “Mudear” Lovejoy, and analyze her “change” through the lenses of Black feminist theory and trauma theory, respectively, highlighting the ways in which Ugly Ways articulates a concept

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Witness, Roya, and Ngcobo Sandiso. "The Gendered Contribution of Neria to the Repertoire of African Filmmaking." International Journal of Social Science Research and Review 6, no. 10 (2023): 481–93. http://dx.doi.org/10.47814/ijssrr.v6i10.1710.

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In an epoch-changing moment in Zimbabwean film history, Neria was produced by Media for Development (MFD) in 1991. It was the first locally produced film to portray relatively strong black women as shown by the titular character who resolutely fights her greedy in-law for her late husband’s estate. Neria remains Zimbabwe’s most popular film and has elicited analyses in books, films and reviews among other commentaries. Though they note empowerment of women in the film, most of these studies tend to pit women against men yet male and female characters support Neria’s cause. Hence, the purpose o

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Ess, Courtneigh. "’n Feministiese ondersoek na Bettina Wyngaard se misdaadfiksie." Tydskrif vir Letterkunde 61, no. 1 (2024): 24–34. http://dx.doi.org/10.17159/tl.v61i1.16619.

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The recent discourse on black feminism in Afrikaans literature is strongly influenced by powerful and activist-oriented writers like Ronelda Kamfer, Lynthia Julius, and Veronique Jephtas. With their poetry and public statements, they have shaped the feminist discourse significantly. However, the recent discourse on feminism in Afrikaans largely overlooks the contributions of certain black Afrikaans women writers. Bettina Wyngaard, a black Afrikaans woman novelist, attempts to disrupt this silence and through her literature and opinion pieces, she advances an alternative feminist stance. This a

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Ferreday, Debra. "‘Only the Bad Gyal could do this’: Rihanna, rape-revenge narratives and the cultural politics of white feminism." Feminist Theory 18, no. 3 (2017): 263–80. http://dx.doi.org/10.1177/1464700117721879.

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In July 2015, Rihanna released a seven-minute long video for her new single, entitled ‘Bitch Better Have My Money’ (more widely known as ‘BBHMM’), the violent imagery in which would divide feminist media commentators for its representation of graphic and sexualised violence against a white couple. The resulting commentary would become the focus of much popular and academic feminist debate over the intersectional gendered and racialised politics of popular culture, in particular coming to define what has been termed ‘white feminism’. ‘BBHMM’ is not the first time Rihanna’s work has been conside

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Carroll, Rachel Jane. "Remains to Be Seen." Social Text 41, no. 1 (2023): 47–70. http://dx.doi.org/10.1215/01642472-10174968.

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Abstract This article unspools the history of nylon as a commodity between two Black feminist cultural expressions, Senga Nengudi's R.S.V.P. series and Audre Lorde's Zami. The first popular petroleum-derived synthetic fiber, nylon was a crucial material in building what Dwight D. Eisenhower was to dub the “military-industrial complex.” Through readings of R.S.V.P. and Zami, the article traces the racial and gendered history of nylon as both a fashion commodity and a military resource. These readings demonstrate Black feminism's central relevance to US military imperialism, particularly in Asia

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Galvão, Ana Maria De Oliveira, Kelly Aparecida De Sousa Queiroz, and Mônica Yumi Jinzenji. "Mulheres de meios populares e a construção de modos de participação nas culturas do escrito (Minas Gerais, Brasil, Século XX)." education policy analysis archives 21 (September 23, 2013): 72. http://dx.doi.org/10.14507/epaa.v21n72.2013.

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How do low-income women build, throughout their lives, ways to participate in written culture? What are the main instances that “sponsor” this participation? What kind of participation is built? This article aims to analyze the tactics through which low-income, uneducated black women, who were born in rural areas and today live in a slum in Belo Horizonte, Minas Gerais, Brazil, built their participation in written culture during the mid-20th century. Oral history was used as methodological approach to interview 33 women. A survey of secondary data about their hometowns was also performed. The

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Mitchell, Rebecca N. "DEATH BECOMES HER: ON THE PROGRESSIVE POTENTIAL OF VICTORIAN MOURNING." Victorian Literature and Culture 41, no. 4 (2013): 595–620. http://dx.doi.org/10.1017/s1060150313000132.

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On the occasion of her Golden Jubilee, Queen Victoria was depicted in a woodcut by William Nicholson that was to become extremely popular (Figure 1). So stout that her proportions approach those of a cube, the Queen is dressed from top to toe in her usual black mourning attire, the white of her gloved hands punctuating the otherwise nearly solid black rectangle of her body. Less than thirty years later, another simple image of a woman in black would prove to be equally iconic: the lithe, narrow column of Chanel's black dress (Figure 2). Comparing the dresses depicted in the two images – the fi

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Grayson, John. "Developing the Politics of the Trade Union Movement: Popular Workers’ Education in South Yorkshire, UK, 1955 to 1985." International Labor and Working-Class History 90 (2016): 111–32. http://dx.doi.org/10.1017/s0147547916000090.

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AbstractDrawing on evidence from research interviews, workers’ memoirs, oral histories, and a range of secondary sources, the development of popular workers’ education is traced over a thirty year period, 1955 to 1985, and is rooted in the proletarian culture of South Yorkshire, UK. The period is seen as an historical conjuncture of Left social movements (trade unions, the Communist and Labour parties, tenants’ movements, movements of working-class women, and emerging autonomous black movements) in a context of trade union militancy and New Left politics. The Sheffield University extramural de

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Clark, Susan F. "Solo Black Performance before the Civil War: Mrs. Stowe, Mrs. Webb, and ‘The Christian Slave’." New Theatre Quarterly 13, no. 52 (1997): 339–48. http://dx.doi.org/10.1017/s0266464x00011465.

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In contemporary culture, an ‘Uncle Tom’ has become so derided a figure of complicity in racism that it is perhaps only with difficulty, and a corrective historicist awareness, that we can come to acknowledge both the good intentions and the undeniable effectiveness of Harriet Beecher Stowe's original – a novel in which, interestingly, women play no less prominent a part than black characters. Indeed, it is likely that the proliferating stage adaptations of Mrs. Stowe's novel were largely responsible for creating the stereotype Uncle Tom in a popular imagination on which such melodramatized acc

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Sawyer, Lena. "Engendering ‘Race’ in Calls for Diasporic Community in Sweden." Feminist Review 90, no. 1 (2008): 87–105. http://dx.doi.org/10.1057/fr.2008.26.

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This article argues that theorists of black/African diasporas should interrogate the specific ways in which ‘race’ is used to engage people in diasporic projects, and that such projects are intimately intertwined with specifically gendered, sexualized, and generational class relations and positionalities in specific national contexts and spaces. Attention to these intersections can help us better understand hierarchies of power between and among diasporic individuals and communities. This article focuses on historically specific Swedish meanings of racialized femininities and the different for

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Bailey, Moya. "Redefining Representation." Screen Bodies 1, no. 1 (2016): 71–86. http://dx.doi.org/10.3167/screen.2016.010105.

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This article explores Black trans and queer women’s use of digital media platforms to create alternate representations of themselves through a process that addresses health and healing beyond the purview of the biomedical industrial complex. These activities include trans women of color using Twitter to build networks of support and masculine of center people creating their own digital health zine, two projects that value the propagation of crowd-sourced knowledge and the creation of images that subvert dominant representations of their communities. I argue that this process of redefining repr

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Scott, Claire E. "Intimacy and Failed Solidarity in the Teen Girl Film Lollipop Monster (2011)." Feminist German Studies 39, no. 2 (2023): 74–97. http://dx.doi.org/10.1353/fgs.2023.a917808.

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Abstract: In this article I analyze the 2011 German indie film Lollipop Monster as a contemporary model for what Lauren Berlant calls "intimate publics." This film twists the genre of the teen girl film by portraying female friendship as a catalyst for unleashing suppressed emotions and subverting oppression. Instead of directing their aggression internally as self-harm, the protagonists of Lollipop Monster use violence against others to reinforce their strong social bond. By employing cinematic techniques from the popular multimedia genre of the music video, Lollipop Monster harkens back to t

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Nava, Mica. "The Cosmopolitanism of Commerce and the Allure of Difference." International Journal of Cultural Studies 1, no. 2 (1998): 163–96. http://dx.doi.org/10.1177/13678779980010020201.

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This article engages with postcolonial theorizations of orientalism and challenges assumptions about the pervasiveness of imperial ideologies in Britain at the beginning of the century by exploring the adherence of Selfridges department store to the principle of ‘cosmopolitanism’. The aesthetic and libidinal economy of this popular modernist commercial formation, and the distinctive positioning of women consumers within it, is investigated in relation to two key cultural events promoted by Selfridges in the years before the First World War: the Russian Ballet performance of Scheherazade — base

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Epprecht, Marc. "The Gay Oral History Project in Zimbabwe: Black Empowerment, Human Rights, and the Research Process." History in Africa 26 (January 1999): 25–41. http://dx.doi.org/10.2307/3172136.

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This paper discusses an attempt to apply historical research directly to the development of a culture of human rights and democracy in Zimbabwe. The research concerns sensitive and controversial issues around sexuality, race, and nationalism that are important in and of themselves. What I would like to argue here, however, is that the method used to design and carry out the research project is at least as interesting. This holds true from the point of view of both professional historians like myself and community activists—two perspectives that are often difficult to reconcile in practice. In

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Yanders, Jacinta. "Black Women and Popular Culture: The Conversation Continues. Adria Y.Goldman, VaNatta S.Ford, Alexa A.Harris, and Natasha R.Howard, eds. Lexington Books, 2014. 326 pp. $100.00 cloth. $49.99 paperback." Journal of Popular Culture 50, no. 3 (2017): 653–55. http://dx.doi.org/10.1111/jpcu.12558.

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