restricted access   Volume 5, Number 1, Fall 2013 (New Series)

Table of Contents

Editor’s Notes

pp. 1-2


“We proudly present … the picture they didn’t want you to see!”: Black Film Advertisements, 1946–1960

pp. 5-33

Haiti: Witnessing as Revolutionary Praxis in Raoul Peck’s Films

pp. 34-55

The Paraphernalia of Suffering: Chris Rock’s Good Hair, Still Playing in the Dark

pp. 56-71


Madeline Anderson in Conversation: Pioneering an African American Documentary Tradition

pp. 72-93

Close-Up: Afrosurrealism


p. 94

Introduction: The No-Theory Chant of Afrosurrealism

pp. 95-112

Afrosurreal Manifesto: Black Is the New black—a 21st-Century Manifesto

pp. 113-117

After the End of the World: Sun Ra and the Grammar of Utopia

pp. 118-139

The Art of Storytelling in Kara Walker’s Film and Video

pp. 140-163

“Just Another Word for Jazz”: The Signifying Auteur in William Greaves’s Symbiopsychotaxiplasm: Take One

pp. 164-183

Of the Ludic, the Blues, and the Counterfeit: An Interview with Kevin Jerome Everson, Experimental Filmmaker

pp. 184-208

Close-Up Gallery: The Afrosurrealist Film Society

pp. 209-219

Filmmaker’s Journal: resonanz.01 (2008−2013) notes / fragments on a case of sonic hauntology

pp. 220-225

Filmmaker’s Journal: Notes on The Lincoln Film Conspiracy

pp. 226-231

Commentary: Haunting in Akosua Adoma Owusu’s Short Experimental Films

pp. 232-236


A Name Is More Than the Tyranny of Taste

pp. 237-250

Africultures Dossier: Report from FESPACO 2013: Renewal or Demise(?)

pp. 251-262

Tey / Today by Alain Gomis (review)

pp. 263-264

Yema by Djamila Sahraoui (review)

pp. 265-266

Book Reviews

Making a Promised Land: Harlem in Twentieth-Century Photography and Film by Paula J. Masood (review)

pp. 267-269

African American Actresses: The Struggle for Visibility, 1900−1960 by Charlene Regester (review)

pp. 269-273

Archival Spotlight

Collectors’ Contributions to Archiving Early Black Film

pp. 274-284

News from the Black Film Center/Archive

pp. 285-289

Professional Notes and Research Resources

pp. 290-291

Notes on Contributors

pp. 292-295