Hollywood and independent black cinema

Contemporary Hollywood Cinema

Volumn , Issue , 2013, Pages 211-228

  Lott, Tommy L ^a  

^a UNIVERSITY OF MISSOURI ST LOUIS   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85071075476     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203349847-24     Document Type: Chapter

References (35)

1. Stephen Best in Manthia Diawara (ed.), Black American Cinema (New York: Routledge, 1993), pp. 303-10.
2. Guerrero, Framing Blackness (Philadelphia: Temple University Press, 1993).
3. ‘Aesthetics and politics in contemporary black film theory’, in Richard Allen and Murray Smith (eds), Film Theory and Philosophy (Oxford: Oxford University Press, 1997), pp. 282-302.
4. Mark A. Reid, Redefining Black Film (Berkeley: University of California Press, 1993).
5. Kobena Mercer, ‘Third cinema at Edinburgh’, Screen, vol. 27, no. 6 (November-December 1986), p. 95.
6. Jim Pines and Paul Willemen (eds), Questions of Third Cinema (London: BFI Publishing, 1989).
7. Report of the National Advisory Commission on Civil Disorders (New York: Bantam Books, 1968).
8. ‘Documenting social issues: Black Journal, 1968-70’, in Janet Cutler and Philis R. Klotman, (eds), Struggles for Representation: African American Documentary, 1943-1993 (Bloomington: Indiana University Press, forthcoming).
9. J. Ronald Green and Thomas Cripps over the question of agency in some of Oscar Micheaux’s extant films, in Diawara (ed.), Black American Cinema, pp. 26-48 and 71-9.
10. David Nicholson, ‘Voices’, Wide Angle, vol. 13, nos. 3 and 4 (July-October 1991), pp. 120-5.
11. ‘The Los Angeles School of black filmmakers’, in Diawara (ed.), Black American Cinema, pp. 107-17.
12. Clyde Taylor, ‘The LA rebellion: a turning point in black cinema’, Circular for The New American Filmmakers Series, 26 (New York Whitney Museum of American Art, 3-19 January 1986).
13. David Nicholson, ‘If Black filmmakers want their productions to be viable in an increasingly competitive market, their films must be far better than the worst Hollywood has to offer.’ Wide Angle, vol. 13, nos. 3 and 4 (July-October 1991), p. 124.
14. Masilela, ‘The Los Angeles School of black filmmakers’, p. 115.
15. Bambara, ‘Reading the signs, empowering the eye: Daughters of the Dust and the black independent cinema movement’, in Diawara (ed.), Black American Cinema, pp. 118-44.
16. Manthia Diawara, ‘Black American cinema: the new realism’, in Diawara (ed.), Black American Cinema, p. 7.
17. Thomas Cripps, Black Film as Genre (Bloomington: Indiana University Press, 1979), Chapter 8.
18. Kobena Mercer, ‘Black art and the burden of representation’, in his Welcome to the Jungle (New York: Routledge, 1994), pp. 233-58.
19. Richard Dyer, ‘Is Car Wash a black musical?’, in Diawara (ed.), Black American Cinema, pp. 93-106.
20. Gladstone Yearwood (ed.), Black Cinema Aesthetics (Athens, Ohio: Ohio University Press, 1982).
21. Manthia Diawara, ‘Malcolm X and the black public sphere: conversionists versus culturalists’, Public Culture, vol. 7, no. 1 (1994), p. 35.
22. Daryl Cumber Dance, Shuckin’ and Jivin’: Folklore from Contemporary Black Americans (Bloomington: Indiana University Press, 1978), pp. 224-46
23. H. Nigel Thomas, From Folklore to Fiction: A Study of Folk Heroes and Rituals in the Black American Novel (New York: Greenwood Press, 1988), pp. 71-91
24. ‘Black spectator ship: problems of identification and resistance’, in Diawara (ed.), Black American Cinema, pp. 211-20.
25. Jacquie Jones, ‘The new ghetto aesthetic’, Wide Angle, vol. 13, nos. 3 and 4 (July-October 1991), pp. 38-41.
26. ‘Spike Lee at the movies’, in Diawara (ed.), Black American Cinema, pp. 145-53.
27. Zora Neale Hurston, Their Eyes Were Watching God (Philadelphia: Lippincott, 1937).
28. ‘The construction of black sexuality: towards normalizing the black cinematic experience’, in Diawara (ed.), Black American Cinema, pp. 247-56.
29. Gates, ‘Looking for modernism’, in Diawara (ed.), Black American Cinema, pp. 200-11.
30. Welcome to the Jungle (New York: Routledge, 1994), pp 171-219.
31. ‘Race, gender and psychoanalysis in forties film: Lost Boundaries, Home of the Brave and The Quiet One’, in Diawara (ed.), Black American Cinema, p. 264
32. ‘The oppositional gaze: black female spectators’, in Diawara (ed.), Black American Cinema, p. 293.
33. Spike Lee, Spike Lee's Gotta Have It: Inside Guerrilla Filmmaking (New York: Fireside Press, 1987), pp. 20-62.
34. Jacqueline Bobo, ‘“The subject is money�?: reconsidering the black film audience as a theoretical paradigm’, Black American Literature Forum, vol. 25, no. 2 (Summer 1991), pp. 421-32.
35. Manthia Diawara, ‘Preface’, in Diawara (ed.), Black American Cinema, p. ix.