restricted access   Volume 4, Number 1, Winter 2012 (New Series)

Table of Contents

Editor's Notes

pp. 1-2


The Color of Manhood: Reconsidering Pompey in John Ford's The Man Who Shot Liberty Valance

pp. 5-27

"You Talkin' Revolution, Sweetback": On Sweet Sweetback's Baadasssss Song and Revolutionary Filmmaking

pp. 28-52

Close-Up: Precious

"They Look Way Above Me, Put Me Out of Their Eyes": Seeing the Subjects in Precious: An Introduction in Two Parts

pp. 53-73

Tuning into Precious: The Black Women's Empowerment Adaptation and the Interruptions of the Absurd

pp. 74-95

The Precarious Politics of Precious: A Close Reading of a Cinematic Text

pp. 96-116

Dialectical Mediation: The Play of Fantasy and Reality in Precious

pp. 117-138

"I Think I Was Rape": Black Feminist Readings of Affect and Incest in Precious

pp. 139-160

Push, Precious, and New Narratives of Slavery in Harlem

pp. 161-180

Acting Out: Counterliteracy Beyond the Ree(a)l

pp. 181-191

The Counterliteracy of Postmelancholy

pp. 192-209

The Abject and the Grotesque: Broken Bodies, Broken Dreams, and the Lost Promise of Harlem

pp. 210-214

A Collective Appetite: Reception and the White Gaze from Shange to Sapphire

pp. 215-219

Close-Up Gallery: Precious

pp. 220-233

Africultures Dossier

Representing the Itsembabwoko

pp. 234-251

Book Review

Second Skin: Josephine Baker and the Modern Surface (review)

pp. 252-254

Archival News

Archive Spotlight: The Image of Black Women in Film Advertising as Seen in the BFC/A's Hatch-Billops Collection

pp. 255-260

Professional Notes and Research Resources

pp. 261-268

Notes on Contributors

pp. 269-271