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

  • Editor's Notes

With this spring issue of Black Camera, we close out another year—the eleventh—of publication and begin work on volume twelve.

Four invitations for your consideration: A Close-Up in development on Spike Lee's BlacKkKlansman (2018), another on Contemporary Black Horror, and another for a timely book-length volume in preparation on the "New Black Hollywood," as well as a Close-Up with a fast approaching deadline on Cuban Cinema, found in the back of this issue.

This issue begins with four articles that engage with African cinema: Nicole Devarenne's article on queer identity and whiteness in South Africa, and Skoonheid (dir. Oliver Hermanus, 2011, South Africa), the first Afrikaans film to screen at Cannes. Rachel Gabara's piece on the late Senegalese director, producer, and film critic Paulin Soumanou Vieyra on the formation of the West African documentary tradition. Then, the understudied Ethiopian film industry is examined by Steven W. Thomas in the context of globalization and industrial policy during the period from 2002 to 2018, followed by Emaeyak Sylvanus's assessment of Nollywood film music under conditions of individualism.

Next in the lineup are three articles focusing on cinema of the Diasporas. The first by Alison Wielgus on four key films screened on Channel 4 by the Black Audio Film Collective (BAFC): John Akomfrah's Testament (1988) and Seven Songs for Malcolm X (1995); and by Reece Auguiste, Twilight City (1989) and Mysteries of July (1991). Second is Jamie Ann Rogers on Beyoncé's Lemonade (2016) and Julie Dash's foundational and visually stunning and poetic Daughters of the Dust (1991). And third, Assatu N. Wisseh's take on "Mother Myths" and parsing "race, class, gender, and sexuality" in Stephen Gyllenhaal's Losing Isaiah (1995).

Also featured in this issue is an interview with filmmaker Boots Riley on art, activism, and his deeply provocative film Sorry to Bother You (2018). The interview took place at the IU Cinema in October 2018 when Riley visited Indiana University. [End Page 1]

We also invite you to enjoy Olivier Barlet's interview with Franco-Senegalese filmmaker Alain Gomis at the 2019 Carthage Film Festival, where Gomis served as president of the jury; and in our regularly featured African Women in Cinema Dossier, Beti Ellerson's piece "African Women, Cinema, and Leadership: Empowerment, Mentorship, and Role-Modeling."

In the penultimate section of the issue, we present three documents—manifestos/programmatic statements—of historical importance and engaging with the black cinematic: Keith M. Harris's "'Black is…' and That's the Beauty of It: Ten Propositions Concerning the Visible and the Visual, in consideration of Black Cinema and Black Visual Culture" (reprinted from Black Camera 8.1); Jess Brooks's "Black Best Friend: A Manifesto;" and Cauleen Smith's "Advancement of Cinematic Creative Maladjustment."

Last in the queue, check out Anna-Marie Jansen van Vuuren's review of Martin Botha's South African Cinema 1896–2010 (Intellect Books, 2012) and, for updates, our "Professional Notes and Research Sources."

Salud. [End Page 2]



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