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Editorial Reviews
From Publishers Weekly
Though often academically impenetrable, this "feminist-Marxist-black cultural" overview is useful for its strong criticism of how studio-produced films about blacks, even those directed by African Americans like Spike Lee and Melvin Van Peebles, offer "tendentious images of blacks." After examining the work of early-20th-century black filmmakers such as Bill Foster and Oscar Micheaux, Reid, who teaches English at the University of Florida, explains how minstrel comedy became part of successful black comedies of the 1970s, in which politically aware comedians like Dick Gregory transmuted the black character from object to subject. In a look at black family films, Reid suggests that A Raisin in the Sun managed to incorporate black feminism and pan-Africanism; he also argues that black viewers have not always been receptive to the violent and misogynistic fantasies of black action films. Reid attacks Spike Lee's lack of sociopolitical analysis and his "simulated form of blackness" and concludes by analyzing the achievements and challenges facing independent black filmmakers, who in his view are best able to explore serious issues. Illustrations not seen by PW.
Copyright 1993 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
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 between films created by whites using black actors, writers, and directors and those in which African Americans exercised significant control over the means of production. The goal of Reid's "feminist-Marxist-black cultural" critical standard is to identify which films express an African American sensibility, and which merely reflect the attitudes of a European-American-dominated culture. In this respect, according to Reid, the creative products of black cinema icons such as Oscar Micheaux, Gordon Parks Jr., Eddie Murphy, and Spike Lee are not necessarily as "black" as they may seem. Reid's provocative and fearlessly ideological treatise seems destined to be cited, and disputed, by generations of film scholars to come. For all serious film collections.
- Anne Sharp, Ypsilanti Dist. Lib., Mich.
Copyright 1993 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Though often academically impenetrable, this "feminist-Marxist-black cultural" overview is useful for its strong criticism of how studio-produced films about blacks, even those directed by African Americans like Spike Lee and Melvin Van Peebles, offer "tendentious images of blacks." After examining the work of early-20th-century black filmmakers such as Bill Foster and Oscar Micheaux, Reid, who teaches English at the University of Florida, explains how minstrel comedy became part of successful black comedies of the 1970s, in which politically aware comedians like Dick Gregory transmuted the black character from object to subject. In a look at black family films, Reid suggests that A Raisin in the Sun managed to incorporate black feminism and pan-Africanism; he also argues that black viewers have not always been receptive to the violent and misogynistic fantasies of black action films. Reid attacks Spike Lee's lack of sociopolitical analysis and his "simulated form of blackness" and concludes by analyzing the achievements and challenges facing independent black filmmakers, who in his view are best able to explore serious issues. Illustrations not seen by PW.
Copyright 1993 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
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 between films created by whites using black actors, writers, and directors and those in which African Americans exercised significant control over the means of production. The goal of Reid's "feminist-Marxist-black cultural" critical standard is to identify which films express an African American sensibility, and which merely reflect the attitudes of a European-American-dominated culture. In this respect, according to Reid, the creative products of black cinema icons such as Oscar Micheaux, Gordon Parks Jr., Eddie Murphy, and Spike Lee are not necessarily as "black" as they may seem. Reid's provocative and fearlessly ideological treatise seems destined to be cited, and disputed, by generations of film scholars to come. For all serious film collections.
- Anne Sharp, Ypsilanti Dist. Lib., Mich.
Copyright 1993 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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Inside This Book Citations: This book cites 93 books | 59 books that cite this book Explore: Citations | Books on Related Topics | Concordance | Text Stats Key Phrases - SIPs: hybrid minstrelsy, black family films, womanist film, black folk comedy, black commercial film (more) Key Phrases - CAPs: Van Peebles, New York, Bush Mama, Los Angeles, United States (more) Browse Sample Pages: Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover | Surprise Me! |
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Inside This Book
(learn more)
First Sentence:
In 1910, Bill Foster (also known as Juli Jones) founded the Foster Photoplay Company in Chicago. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
hybrid minstrelsy, black family films, womanist film, black folk comedy, black commercial film, minstrel films, black action films, black independent filmmakers, family film genre, black film history, black folk humor, black women filmmakers, black womanism, new black cinema, action film genre, black independent films, minstrel comedy, minstrel humor, minstrel forms, minstrel caricatures, black filmmakers, tendentious joke, racial dualism, interracial audience, interracial intimacy Key Phrases - Capitalized Phrases (CAPs): (
In 1910, Bill Foster (also known as Juli Jones) founded the Foster Photoplay Company in Chicago. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
hybrid minstrelsy, black family films, womanist film, black folk comedy, black commercial film, minstrel films, black action films, black independent filmmakers, family film genre, black film history, black folk humor, black women filmmakers, black womanism, new black cinema, action film genre, black independent films, minstrel comedy, minstrel humor, minstrel forms, minstrel caricatures, black filmmakers, tendentious joke, racial dualism, interracial audience, interracial intimacy Key Phrases - Capitalized Phrases (CAPs): (