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GATES - GILLESPIE - Reclaiming Black Film and Media Studies PDF
GATES - GILLESPIE - Reclaiming Black Film and Media Studies PDF
GATES - GILLESPIE - Reclaiming Black Film and Media Studies PDF
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Terence Nance’s alternative anthology series, Random Acts of Flyness (HBO, 2018)
comic superhero cinema. Thinking through the modalities We must go to film festivals. We must follow film pro-
of black speculative fiction and Afrofuturism in Sorry to grammers.
Bother You helps to ground the film’s trenchant and absurd-
Black film thrives in arenas other than the standard cineplex.
ist critique of capital, race, and class. What does it mean to
What might it mean to give as much attention to this context
understand BlacKkKlansman (Spike Lee, 2018) as Blaxploi-
as to the industrial/commercial buzz? This is especially the
tation fantasy and visual historiography of American cin-
case for 2018, with the Flaherty Seminar programming of
ema? The thinking to come on Barry Jenkins’s If Beale
Greg De Cuir and Kevin Jerome Everson; Maori Karmael
Street Could Talk (2018) as a film adaptation that visually
Holmes’s continued brilliance directing the seventh edition
renders James Baldwin’s text must also consider how this
of the BlackStar Film Festival in Philadelphia; the continued
rendering occurs with a consequential sonic component. It’s
circulation of the “Black Radical Imagination” touring pro-
important to think about the formal principles across
gram of experimental/avant-garde shorts cofounded by Erin
experimental/avant-garde work (e.g., Kevin Jerome Everson,
Christovale and Amir George and currently programed by
Cauleen Smith, Christopher Harris, Ephraim Asili) to
Darol Olu Kae and Jheanelle Brown; the Smithsonian’s
appreciate the range of aesthetic capacities evinced by
African American Film Festival; Ashley Clark’s film pro-
the idea of black film. Terence Nance’s Random Acts of
gramming at the Brooklyn Academy of Music.3 In particu-
Flyness (2018) models an alternative sense of anthology-
lar, Clark’s programs this year have been generative and
television seriality, a production that flourishes on formal
collaborative opportunities to expansively appreciate cinema.
experimentation and collectivity. It restages the late-night
The “Fight the Power: Black Superheroes on Film” series
variety television conceit with an absurdist cycling across
framed the then-impending release of Black Panther, the
formats and modalities. The inventiveness of Yance
BAMcinématek and the Racial Imaginary Institute’s “On
Ford’s Strong Island (2017) requires appreciating how the
Whiteness” series was tied to the Whiteness Symposium at
film redefines documentary form with its exquisite build-
the Kitchen, and the “Say It Loud: Cinema in the Age of
ing of an archive and Ford’s direct address. Moreover, the
Black Power (1966–1981)” series was tied to the “Soul of a
film remains immune to humanist or sentimental recupera-
Nation” exhibition at the Brooklyn Museum.
tion in its consideration of familial grief, injustice, and the
antiblack ways that whiteness always operates as the arbiter We must stop championing representation as a marker of
of truth.2 racial progressiveness, and instead begin concentrating on
14 SP RIN G 201 9
the themes and ideas with which those representations If the representation debate revival must occur, then at least
engage. reread Stuart Hall.
For far too long, both the academic and popular study of
black film and media studies has focused too narrowly on the Notes
mere presence of black bodies both in front of and behind 1. For more information on the New Negress Film Society, see
the camera. Black bodies do not equal blackness. Blackness https://newnegressfilmsociety.com/.
does not necessarily equal black liberation or recuperation. 2. Inspired by Yance Ford’s postscreening comments at the
A study of black film and media that merely equates the in- Museum of Modern Art, New Directors/New Films Series,
clusion of black makers and characters with revolutionary March 19, 2017.
3. For more on Black Radical Imagination, see http://blackradi
cinematic practice will never truly effect change, but rather,
calimagination.com; and Tiffany Barber and Jerome Dent,
will simply instantiate a history of black bodies labored by “Urban Video Project: Interview with Curators of Black
and laboring for whiteness on ideological and formal levels Radical Imagination,” LightWork, March 20, 2015, www.
(e.g., blackface, social-problem cinema). Black film historiog- lightwork.org/tag/black-radical-imagination/.
raphy does not have to be a progressive fantasy. Perhaps,
ambivalence might be a good place to start.
MANIFESTO
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