Redefining Black Film
Can films about black characters, produced by white filmmakers, be considered "black films"? In answering this question, Mark Reid reassesses black film history, carefully distinguishing between films controlled by blacks and films that utilize black talent, but are controlled by whites. Previous black film criticism has "buried" the true black film industry, Reid says, by concentrating on films that are about, but not by, blacks.
Reid's discussion of black independent films—defined as films that focus on the black community and that are written, directed, produced, and distributed by blacks—ranges from the earliest black involvement at the turn of the century up through the civil rights movement of the Sixties and the recent resurgence of feminism in black cultural production. His critical assessment of work by some black filmmakers such as Spike Lee notes how these films avoid dramatizations of sexism, homophobia, and classism within the black community.
In the area of black commercial film controlled by whites, Reid considers three genres: African-American comedy, black family film, and black action film. He points out that even when these films use black writers and directors, a black perspective rarely surfaces.
Reid's innovative critical approach, which transcends the "black-image" language of earlier studies—and at the same time redefines black film—makes an important contribution to film history. Certain to attract film scholars, this work will also appeal to anyone interested in African-American and Women's Studies.
What people are saying - Write a review
Redefining Black FilmUser Review - Not Available - Book Verdict
Reid (English, Univ. of Florida) attempts to define the new critical framework for analyzing African American cinema. Unlike most previous writers on the subject, Reid makes a clear distinction ... Read full review
Black Power and Urban Revolts
The Making of a Hero Called Sweetback
The StudioProduced Black Action Film
Black Comedy on the Verge of a Genre Breakdown
Shes Gotta Have It
Do the Right Thing
Black Feminism and the Independent Film
Satiric Hybrid Minstrel Film
Toward a Critical Theory of AfricanAmerican Film
Family Film Black Writers in Hollywood
Literary Forces Encouraging the Use of Black Writers
Jake a Giant Step
Race Sexuality and a Black Matinee Idol
A Raisin in the Sun
Textual Dialogue in A Raisin in the Sun
Black Action Film
From Bitterness to Anger
African African-American African-American comedy film African-American film American film Amos n Art Film Stills black action films black audience black comedy black community black family films black film black filmmakers black heroes black independent film black independent filmmakers black womanist film black women black writers black-oriented films blackface blackface minstrelsy Bush Mama comedy film Company critical discourse distribution dramatized family film feature-length feminist film genre film production Film Stills Archive film's gender Gerima Giant Step Gotta Harlem Hollywood Hollywood Shuffle ideology independent film interracial Killer of Sheep Lee's major studios male Michael Schultz Micheaux middle-class minstrelsy Modern Art Film movie Museum of Modern narrative Nola Nola's Oscar Micheaux pan-African Peebles Poitier popular portrayed race racial racism Raisin reception resist satiric hybrid minstrelsy School Daze sexism sexual Shaft She's Gotta social socioeconomic sociopsychic studio-distributed black subtype Sweetback Take a Giant television tendentious theaters tion violence woman writes
Page 3 - When Althusser wrote that ideology represents “not the system of the real relations which govern the existence of individuals, but the imaginary relation of those individuals to the real relations in which they live” and which govern Their existence, he was also describing, to my mind exactly, the functioning of gender.