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In this Issue

Table of Contents

  1. Chuck Kleinhans 1942–2017: A Tribute*
  2. Joan Hawkins, Tom Waugh
  3. pp. 1-3
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.01
  5. restricted access
  1. Editor’s Notes
  3. pp. 4-5
  4. restricted access
  1. New York Filmmakers
  3. pp. 6-7
  4. restricted access
  1. Caribbean Cinema as Cross-Border Dialogue
  3. pp. 8-9
  4. restricted access
  1. “By Any Means Necessary” A Neoliberal Sound Byte? : The Memory of Malcolm X in the 1990s CBS Documentary Malcolm X: The Real Story
  2. Mary C. Schmitt
  3. pp. 10-32
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.03
  5. restricted access
  1. The Sounds of War in Ashes and Embers: Race, Trauma, and Dislocation
  2. Ayshia Elizabeth Stephenson
  3. pp. 33-51
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.04
  5. restricted access
  1. Carlton Moss and African American Cultural Emancipation
  2. Nathan Seeley
  3. pp. 52-75
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.05
  5. restricted access
  1. Introduction: Black Images Matter: Contextualizing Images of Racialized Police Violence
  2. Ellen C. Scott
  3. pp. 76-81
  4. restricted access
  1. “Keep Runnin’ Bro”: Carrie Mae Weems and the Visual Act of Refusal
  2. LaCharles Ward
  3. pp. 82-109
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.07
  5. restricted access
  1. “What Now?”: The Wailing Black Woman, Grief, and Difference
  2. Manoucheka Celeste
  3. pp. 110-131
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.08
  5. restricted access
  1. Bio-Work in the Blacking Factory: Police Videos and the Ethics of Seeing and Being Seen
  2. Roopali Mukherjee
  3. pp. 132-146
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.09
  5. restricted access
  1. Critical Surveillance Literacy in Social Media: Interrogating Black Death and Dying Online
  2. Safiya Umoja Noble
  3. pp. 147-160
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.10
  5. restricted access
  1. Black Lives and Justice with the Archive: A Call to Action
  2. Angela J. Aguayo, Danette Pugh Patton, Molly Bandonis
  3. pp. 161-168
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.11
  5. restricted access
  1. Cinema in Postapartheid South Africa: New Perspectives
  2. Haseenah Ebrahim, Jordache A. Ellapen
  3. pp. 169-176
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.12
  5. restricted access
  1. Mixing It Up: New Audiovisual Cultures in South Africa
  2. Lindiwe Dovey
  3. pp. 177-196
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.13
  5. restricted access
  1. Traversing the Cinemascape of Contemporary South Africa: A Peripatetic Journey
  2. Haseenah Ebrahim
  3. pp. 197-215
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.14
  5. restricted access
  1. Transnational Production, International Policy, and South African Cinema
  2. Christopher Meir
  3. pp. 216-234
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.15
  5. restricted access
  1. Geographies of the Black African Masculine in Tsotsi and The Wooden Camera
  2. Jordache A. Ellapen
  3. pp. 235-255
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.16
  5. restricted access
  1. The Tailored Suit: Re-Membering and Gendering Can Themba’s “The Suit”
  2. Kitso Lynn Lelliott
  3. pp. 256-276
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.17
  5. restricted access
  1. Fraught Starts, Fragmented Twists, and Forged Endings: (Re)Imagining and (Re)Imaging Black Womanhood in Zulu Love Letter and Yesterday
  2. A. Yolisa Kenqu
  3. pp. 277-294
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.18
  5. restricted access
  1. Hearing the Difference: Sexuality, Xenophobia, and South African Melodrama
  2. Madhumita Lahiri
  3. pp. 295-312
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.19
  5. restricted access
  1. Westbury, Plek Van Hoop and Waiting for Valdez: Self-Representation, Memory and Coloured Identity in Westbury, Johannesburg
  2. Phyllis Dannhauser
  3. pp. 313-332
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.20
  5. restricted access
  1. Forging a New Path: Plurality, Social Change, and Innovation in Contemporary Senegalese Cinema
  2. Molly Krueger Enz, Devin Bryson
  3. pp. 333-348
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  1. A Critical and Deeply Personal Reflection: Malick Aw on Cinema in Senegal Today
  2. Amadou T. Fofana
  3. pp. 349-359
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.22
  5. restricted access
  1. Displacement and the Quest for Identity in Alain Gomis’s Cinema
  2. Estrella Sendra
  3. pp. 360-390
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.23
  5. restricted access
  1. See the Sky: Subjectivity and Social Meaning in Adams Sie’s Filmmaking
  2. Devin Bryson
  3. pp. 391-413
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.24
  5. restricted access
  1. Unsilencing History: Reclaiming African Cultural Heritage in Kemtiyu—Séex Anta
  2. Sheila Petty
  3. pp. 414-426
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.25
  5. restricted access
  1. Joseph Gaï Ramaka and Nicolas Sawalo Cissé Promote Change Through Cinema: Representations of Flooding and Trash in the Margins of Dakar
  2. Molly Krueger Enz
  3. pp. 427-449
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.26
  5. restricted access
  1. Ouvrir la voix (Speak up) by Amandine Gay, or the Necessity of Afro-Feminism
  2. Olivier Barlet, Pierrick Hochard
  3. pp. 450-452
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.27
  5. restricted access
  1. Ile Courts 2017: From Multiculturalism to Interculturality
  2. Olivier Barlet, Pierrick Hochard
  3. pp. 453-459
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.28
  5. restricted access
  1. Onscreen Narratives, Offscreen Lives: African Women Inscribing the Self
  2. Beti Ellerson
  3. pp. 460-476
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.29
  5. restricted access
  1. Remembering Djibril Diop Mambéty on the 20th Anniversary of His Death
  2. Beti Ellerson
  3. pp. 477-480
  4. DOI: https://doi.org/10.2979/blackcamera.9.2.30
  5. restricted access
  1. Recent and Upcoming Publications on Black Film
  3. pp. 481-482
  4. restricted access