Black Camera最新文献_第3页

The Work of Horror after Get Out 《脱身》后的恐怖作品

Black Camera Pub Date : 2022-12-01 DOI: 10.2979/blackcamera.14.2.18

C. Zimmer

引用次数: 0

Containing the Wonder Doctor: Sidney Poitier, the Cold War, and Liberal Reformation 包含神奇博士:西德尼·波蒂埃、冷战和自由主义改革

Black Camera Pub Date : 2022-06-01 DOI: 10.2979/blackcamera.14.1.05

Luke Sayers

引用次数: 0

Presencias invisibles: La estética de Damián Sainz en Batería 看不见的存在：达米安·塞恩斯的鼓美学

Black Camera Pub Date : 2022-06-01 DOI: 10.2979/blackcamera.14.1.12

Anastasia Valecce

{"title":"Presencias invisibles: La estética de Damián Sainz en Batería","authors":"Anastasia Valecce","doi":"10.2979/blackcamera.14.1.12","DOIUrl":"https://doi.org/10.2979/blackcamera.14.1.12","url":null,"abstract":"Resumen:Batería (2016) es un documental breve que cuenta la historia de un lugar \"secreto\"—una fortaleza militar antigua situada en las afueras de la Habana, Cuba—donde se reúnen hombres gay para encuentros sexuales clandestinos. La particularidad del documental es caracterizada por la habilidad estilística con la cual Sainz edifica el documental a través de las historias en voice-off de sus protagonistas para garantizar a los participantes su anonimato y, en esa aparente fragilidad narrativa, construye una base fílmica sólida. El resultado es Batería, un documento visual poblado de un lugar abandonado, grafiti, murales, sonidos y presencias invisibles.Esa invisibilidad es el hilo conductor de este artículo. La invisibilidad, a menudo discutida como un rasgo negativo que arrincona, margina y niega un espacio al sujeto LGBTIQ+; cuando falta, sin embargo, puede costar—y le ha costado—la vida a muches. Lo que planteo, es una revaluación de la invisibilidad—a menudo vista como negativa por parte de la producción académica cuir, o como algo que superar para llegar a una condición de vida mejor a través de la visibilidad social—para provocar conversaciones éticas que no van a ser definitivas pero que de alguna manera y desde la academia, devuelven cierta justicia crítica al asunto, ya que, muchas veces, no hay justicia legal para los casos de muerte de los miembros de la comunidad LGBTIQ+.","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46478276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Superimposing Sex-Politics in Melvin Van Peebles's Sweet Sweetback's Baadasssss Song 梅尔文·范·皮布尔斯《甜蜜甜心》中的性政治叠加

Black Camera Pub Date : 2022-06-01 DOI: 10.2979/blackcamera.14.1.06

T. T. Le

{"title":"Superimposing Sex-Politics in Melvin Van Peebles's Sweet Sweetback's Baadasssss Song","authors":"T. T. Le","doi":"10.2979/blackcamera.14.1.06","DOIUrl":"https://doi.org/10.2979/blackcamera.14.1.06","url":null,"abstract":"Abstract:Literature centering on Melvin Van Peebles's influential, and controversial, independent film Sweet Sweetback's Baadasssss Song (1971) has focused on the hermeneutics of reception, the timeliness and appropriateness of a talkback by an oppressed race, and the role of the sexual numbers within a film advertised as more of a politically charged product than of a pornographic one. None of the scholarship research incorporates the three crucial parts of the film, showcased visibly in the title itself, into the issues of reception, of critical race strategism, and of sexual politics—what is missing is precisely a productive mode of reading into being and meaning the sweet back, the bad ass, and the background songs. This essay attempts to insert the back side of sex, including the back itself and the ass, both of which I will subsume under the term \"back,\" into the matrix of sex and politics. I argue that back sex directs the audience toward an inescapable engagement between sexual politics and racial politics, that sex serves—is made to serve—within not just the consciousness formation of the individual but also the consciousness formation of the individual within the community. Back sex therefore is revolutionary and constantly in crisis because it changes instead of repeating itself: unlike penile sex characterized by frontal/confrontational penetration, the back gestures a communitarian plurality of sex that escapes classic understanding of monogamous sex within the neoliberal family structure, and the ass emphasizes constant movement, sidewise, back and forth, that oscillates between a vulnerable position that requires backing and a determined democratic demand to be allowed to move counter-progressively. I emphasize the need to read the back as an instance of sex-politics into a more immediate consciousness of the audience, who in turn will benefit not from a total abandonment of penile sexual politics but rather from a novel engagement with the politically charged sexuality of a new zone named the back.","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49440177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Ava DuVernay, an Unexpected Independent Black Queen in Hollywood? 艾娃·杜威内，好莱坞出人意料的独立黑人女王?

Black Camera Pub Date : 2022-06-01 DOI: 10.2979/blackcamera.14.1.02

Carla Toquet

引用次数: 0

Invisible Presences: The Aesthetics of Damián Sainz in Batería 看不见的存在:Damián Sainz在Batería中的美学

Black Camera Pub Date : 2022-06-01 DOI: 10.2979/blackcamera.14.1.11

Anastasia Valecce, Aisha Z. Cort

{"title":"Invisible Presences: The Aesthetics of Damián Sainz in Batería","authors":"Anastasia Valecce, Aisha Z. Cort","doi":"10.2979/blackcamera.14.1.11","DOIUrl":"https://doi.org/10.2979/blackcamera.14.1.11","url":null,"abstract":"Abstract:Batería (2016) is a short documentary movie that tells the story of a \"secret\" place—an old military fort located on the outskirts of Havana—where gay men meet for clandestine sexual encounters. The nuance of the documentary is the stylistic ability of director Damián Sainz to construct through the stories told via voice-off of the protagonists to ensure the anonymity of the participants. In that apparent fragility of the narrative, Sainz builds up a solid filmic foundation. The result is Batería, a visual documentary full of an abandoned place, graffiti, murals, sounds, and invisible presences.Invisibility is a connecting thread that leads me to consider the documentary under its lens. Invisibility, often presented as a negative feature that buries, marginalizes, and negates space for the LGBTQ+ subject, as much as it lacks, nevertheless, it can cost—and has cost—the lives of many. Therefore, what I am positing, is a reevaluation of invisibility—often seen as negative by queer academic production, or as something to be overcome in order to achieve a better life through social visibility—in order to spark ethical conversations. These academic conversations won't be definitive but, in some way, and from the academy, bring some sort of critical justice to the matter, as too many times there is no legal justice for homicide cases involving members of the LGBTQ+ community.","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45104666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Les salles de cinéma en Afrique sud saharienne francophone (1926–1980) / Movie Theaters in French-Speaking Africa South of the Sahara (1926–1980), by Claude Forest: A Welcomed and Essential Historical Work 《撒哈拉以南非洲法语国家的电影》(1926-1980)/《撒哈拉以南法语非洲的电影院》(1926-1980)，作者克劳德·福里斯特:一部受欢迎的重要历史著作

Black Camera Pub Date : 2022-06-01 DOI: 10.2979/blackcamera.14.1.18

Olivier Barlet, Christian Santa Ana

引用次数: 1

FESPACO 2021: Feature Films, a Return to the Future FESPACO 2021：故事片，回归未来

Black Camera Pub Date : 2022-06-01 DOI: 10.2979/blackcamera.14.1.19

Olivier Barlet, Christian Santa Ana

引用次数: 0

Hieroglyphics of the Film: Stuplimity and Static in the Films of Ja'Tovia Gary 电影的象形文字:贾托维亚·加里电影中的愚笨与静止

Black Camera Pub Date : 2022-06-01 DOI: 10.2979/blackcamera.14.1.03

Kelli D. Moore

{"title":"Hieroglyphics of the Film: Stuplimity and Static in the Films of Ja'Tovia Gary","authors":"Kelli D. Moore","doi":"10.2979/blackcamera.14.1.03","DOIUrl":"https://doi.org/10.2979/blackcamera.14.1.03","url":null,"abstract":"Abstract:This essay discusses film and video works of artist, Ja'Tovia Gary, focusing on the strategies she employs to address blackness as both sociopolitical narrative and a material quality of film. Gary's interaction with the staging of her experimental films and film as matter are historical and technical. Looking at the Giverny Suite films, I recount how the filmmaker encouraged her audience to move about the screening space during the opening night at Paula Cooper Gallery, February 2019. These films were projected onto the gallery walls giving them a monumental effect that I argue left the audience in a state of stuplimity, Sianne Ngai's term for the experience of the hybrid affective condition of stupor and the sublime that is common to the gallery and museum setting. The experience of stuplimity and the artist's response raise questions about blackness as narrative and a quality of the material substrate we call film. I then turn to Gary's earlier film, An Ecstatic Experience (2015) for a different example of the filmmaker's involvement in the sublime aspects found in archival footage of black theatrical performance and decaying film celluloid. In the film, Gary uses direct animation to draw onto archival footage of the television series, History of the Negro People, while also suturing Black Lives Matter street uprising television footage. These historical, social, and technical strategies mark film as a space and substance of care and caring, allowing us to consider the noise and signals of black lifeworlds in a way that accords with Michael Gillespie's account of \"film blackness.\"","PeriodicalId":42749,"journal":{"name":"Black Camera","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48353648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Barry Jenkins and Moonlight in Miami: Home Girls Respond 巴里·詹金斯和《迈阿密月光男孩》:《家庭女孩的回应》

Black Camera Pub Date : 2022-06-01 DOI: 10.2979/blackcamera.14.1.17

A. Mccluskey

引用次数: 0