'Worrying the note': Mapping time in the gangsta film

Screen

Volumn 42, Issue 4, 2001, Pages 363-381

  Brooks, Jodi ^a  

^a NONE

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[No Author keywords available]

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EID: 64549083296     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/42.4.363     Document Type: Article

References (25)

1. Giorgio Agamben. Time and history: a critique of the instant and the continuum'. Infancy and History: Essays on the Destruction of Experience, trans. Liz Heron (London and New York: Verso, 1993). p. 91.
2. Ralph Ellison, Invisible Man (London: Penguin. 1965). p. 11.
3. Jacquie Jones, The accusatory space', in Gina Dent (ed). Black Popular Culture, a project by Michelle Wallace (Seattle. WA: Bay Press. 1992), p. 95.
4. Sharon Willis discusses many of these issues in the chapter entitled 'Tell the right story: Spike Lee and the politics of representative style' in her bock High Contrast: Race and Gender in Contemporary Hollywood Film (Durham, NC and London: Duke University Press, 1997).
5. See also Jacquie Jones's essays 'The new ghetto aesthetic'. Wide-Angle, vol. 13. nos 3-4 (1991)
6. See Valerie Smith, 'The documentary impulse in contemporary US African-American film', in Dent (ed.), Black Popular Culture.
7. See Jonathan Munby, Public Enemies, Public Heroes: Screening the Gangster from Little Caesar to Touch of Evil (Chicago, IL and London: Chicago University Press, 1999), for a useful discussion of some of these issues.
8. Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover, NH and London: Wesleyan University Press, 1994). p. 85.
9. The form of flashback that we find in these films foregrounds the cinematic origins of the terms. See Maureen Turim, Flashbacks in Film: Memory and History (New York and London: Routledge. 1989). In Menace II Society and American Me it would seem that the stories take place in the flash itself, the shock-like and dislocating 'in-between', the disjunctive interval that moves us between two points in time. Here, however, this moment - or better, interval - is extended and flattened out.
10. See Peggy Phelan, Mourning Sex: Performing Public Memories (London and New York: Routledge, 1997).
11. Jones, The new ghetto aesthetic', p. 33.
12. For Walter Benjamin's work on hashish and intoxication, see his essay 'Hashish in Marseilles', in Peter Demetz (ed.), Reflections, trans. Edmund Jephcott (New York: Schocken Bocks, 1986).
13. See also Benjamin's other writings on hashish in Michael W. Jennings, Howard Eiland and Gary Smith (eds), Walter Benjamin: Selected Writings Volume 2, 1927-1934, trans. Rodney Livingstone et al. (Cambridge, MA: Belknap Press of Harvard University Press, 1999).
14. Arthur Jafa, '69', in Dent (ed.), Black Popular Culture, pp. 253-4.
15. Robin D.G. Kelley, Yo'Mama's Disfunktional: Fighting the Culture Wars in Urban America (Boston, MA: Beacon Press, 1997], p. 39.
16. Elissa Marder, 'Flat death: snapshots of history', Diacritics. vol. 22. nos 3-4 (1992), pp. 128-44.
17. Walter Benjamin, 'Karl Kraus', in Jennings et al. (eds). Walter Benjamin: Selected Writings Volume 2, p. 435.
18. Pascal Bonitzer, quoted and translated in Alison Smith, Agnès Varda (Manchester and New York: Manchester University Press, 1998), p. 43.
19. See Maria P.P. Root, 'Reconstructing the impact of trauma on personality', in Laura S. Brown and Mary Ballou (eds). Personality and Psychopathology: Feminist Reappraisals (New York: Guildford, 1992);
20. Laura S. Brown. 'Not outside the range: one feminist perspective on psychic trauma', in Cathy Caruth (ed.). Trauma: Explorations in Memory (Baltimore, MD and London: John Hopkins University Press, 1995).
21. American Psychiatric Association's Diagnostic and Statistical Manual, quoted in Brown, 'Not outside the range', p. 100.
22. Cathy Caruth, 'Trauma and experience: introduction', in Caruth (ed.), Trauma: Explorations in Memory, pp. 4-5.
23. Mark Seltzer, 'Wound culture: trauma in the pathological public sphere', October, no. 80 [Spring 1997), p. 9.
24. Jacques Derrida, 'The deaths of Roland Barthes', trans. Pascale-Anne Brault and Michael Naas, in Hugh Silverman (ed). Philosophy and Non Philosophy, Since Merleau-Ponty (New York: Routledge, 1998), p. 268.
25. Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (London: Flamingo/ Fontana, 1984), p. 15.