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Race and the Revolutionary Impulse in The Spook Who Sat by the Door
Ivan Dixon's 1973 film, The Spook Who Sat by the Door, captures the intensity of social and political upheaval during a volatile period in American history. Based on Sam Greenlee's novel by the same name, the film is a searing portrayal of an American Black underclass brought to the brink of revolution. This series of critical essays situates the film in its social, political, and cinematic contexts and presents a wealth of related materials, including an extensive interview with Sam Greenlee, the original United Artists' press kit, numerous stills from the film, and the original screenplay. This fascinating examination of a revolutionary work foregrounds issues of race, class, and social inequality that continue to incite protests and drive political debate.
Turning Left Around the World: David and Helene Shared the Adventure, the Sights, the Laughs... and Even the Tears
For some people, retirement dreams consist of comfy slippers and gardening. Not so David and Helene whose dream was of adventure. This is an entertaining account of their adventure, often intriguing, frequently funny and occasionally tragic. Share their adventure, enjoy the surprises and meet some fascinating people with unusual customs.
Balance
Scholarly research and depictions within popular culture present black males largely on the basis of their being caricatures_ entities that extend not far beyond stereotypical celluloid, televised explanations, print articles, and selective hip-hop commentary. Even within institutions and among individuals that are assumed to have the best interest of the black male at center, there is often an inability to consider them past a faux orbit of one-dimensionality. Balance is unique in that it approaches Black males from a well-rooted personality perspective within context and utilizes discourse analysis in attempts at advancing identity theory.
Expanding the Black Film Canon
If the sheer diversity of recent hits from Twelve Years a Slave and Moonlight to Get Out, Black Panther, and BlackkKlansman tells us anything, it might be that there's no such thing as "black film" per se. This book is especially timely, then, in expanding our idea of what black films are and, going back to the 1960s, showing us new and interesting ways to understand them. When critics and scholars write about films from the Blaxploitation movement—such as Cotton Comes to Harlem, Shaft, Superfly, and Cleopatra Jones—they emphasize their importance as films made for black audiences. Consequently, Lisa Doris Alexander points out, a film like the highly popular, Oscar-nominated Blazing Sadd...
Southern by the Grace of God
Like the media coverage of the civil rights era itself, Hollywood dramas have reinforced regional stereotypes of race, class, and gender to cleanse and redeem the wider nation from the implications of systemic racism. As Southern by the Grace of God reveals, however, Hollywood manipulates southern religion (in particular) to further enhance this pattern of difference and regional exceptionalism, consistently displacing broader American racism through a representation of the poor white southerner who is as religious as he (and it is always a he) is racist. By foregrounding the role of religion in these characterizations, Megan Hunt illuminates the pernicious intersections between Hollywood an...
