In lieu of an abstract, here is a brief excerpt of the content:

  • Editor's Notes

Now, fast approaching the first decade of publication with Indiana University Press, consider that Black Camera is vibrant, ever more in search of and retrieving the documentary record of black filmmaking worldwide; disseminating for study and debate new theoretical assertions from the vast archive of literatures while challenging long held but no longer sustainable assumptions about black filmmaking practices, traditions and movements; and particularly important, making new and original comparative connections between cinematic formations.

The content of this issue, like those before it, commands your continued attention. Take note of our calls on Cuban cinema and Nina Simone, and consider contributing to either Close-Up.

Next, three articles are featured by Ellen Scott, Bruno Guaraná, and Chuck Jackson. In the lead piece, Scott engages with the career of Powell Lindsay, an African American and the last of the "race filmmakers," who trained with all manner of artists in the avant-garde and left theater movements during the 1930s. Scott's trenchant take on Powell reminds us of his singular voice on "black left politics, music, and abstraction." Next, Guaraná's critical interrogation of mainstream television in Brazil unmasks the nation's false claim of racial democracy, and Jackson's take on Ganja & Hess (1973) cinematographer James E. Hinton's contributions to the production of a series of NEA-funded films about art communities is impressive as it is historically noteworthy and consequential.

Two Close-Ups follow: beginning with the legendary auteur filmmaker Claire Denis's interrogation of the human displacement and subjectivity of those bounded by colonial and postcolony rule in Chocolat (1988) and White Material (2009), followed by guest editor Samantha N. Sheppard's timely collection of essays, "Sports, Race, and the Power of Narrative."

Penultimate in the queue, but of no less importance, engage with the critical entries for our Africultures Dossier by Olivier Barlet, ever more important and appreciated by our readers, as well as our African Women in Cinema Dossier by Beti Ellerson. [End Page 1]

Be sure, also, to read the book reviews by Babatunde Onikoyi and Sanne Sinnige and our Archival Spotlight by Candace Ming, as well as Professional Notes and Research Sources for further study.

Finally, we welcome Katherine Johnson as a new Assistant Editor. Katherine is a PhD Candidate at Indiana University in the Department of Communication and Culture. She studies the American Western genre, the representation of women and femininity therein, and the contributions that women have made toward the genre's production through screenwriting, acting, and stunt work specifically. On any given night you can find Katherine watching the latest take on the Western with her two cats, Bub and Luna.

That's it for now! [End Page 2]



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