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In this Issue

Table of Contents

  1. Editor’s Notes
  3. pp. 1-3
  4. restricted access
  1. Call for Close-Up Submissions: Django Unchained
  3. p. 4
  4. restricted access

Article

  1. Cinema as Political Activism: Contemporary Meanings in The Spook Who Sat by the Door
  2. Marilyn Yaquinto
  3. pp. 5-33
  4. DOI: https://doi.org/10.2979/blackcamera.6.1.5
  5. restricted access
  1. Charles Burnett’s Dialogic Aesthetics: My Brother’s Wedding as a Bridge between Killer of Sheep and To Sleep with Anger
  2. Amy Corbin
  3. pp. 34-56
  4. DOI: https://doi.org/10.2979/blackcamera.6.1.34
  5. restricted access

Special Feature

  1. Conversations with Ava DuVernay: “A Call to Action”: Organizing Principles of an Activist Cinematic Practice
  2. Michael T. Martin, Ava DuVernay
  3. pp. 57-91
  4. DOI: https://doi.org/10.2979/blackcamera.6.1.57
  5. restricted access

Close-Up: Postcolonial Filmmaking in French-speaking Countries

  1. Introduction: Postcolonial Migration Stories on Screen
  2. Delphine Letort
  3. pp. 92-95
  4. DOI: https://doi.org/10.2979/blackcamera.6.1.92
  5. restricted access
  1. The Algerian War: Memory through Cinema
  2. Benjamin Stora, Jarrett Anderson
  3. pp. 96-107
  4. DOI: https://doi.org/10.2979/blackcamera.6.1.96
  5. restricted access
  1. Looking Elsewhere to Film and Capture Life: Transnational Journeys, Nomadism, and Cultural Métissage in Tony Gatlif’s Cinema
  2. Isabelle Vanderschelden
  3. pp. 108-123
  4. DOI: https://doi.org/10.2979/blackcamera.6.1.108
  5. restricted access
  1. Farida Benlyazid and Juanita Narboni: Two Women from Tangier
  2. Florence Martin
  3. pp. 124-138
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  1. Rethinking the Diaspora through the Legacy of Slavery in Rachid Bouchareb’s Little Senegal
  2. Delphine Letort
  3. pp. 139-153
  4. DOI: https://doi.org/10.2979/blackcamera.6.1.139
  5. restricted access
  1. Cassava Westerns: Ways of Watching Abderrahmane Sissako
  2. Tsitsi Jaji
  3. pp. 154-177
  4. DOI: https://doi.org/10.2979/blackcamera.6.1.154
  5. restricted access
  1. How to Get to Barcelona or Die Trying: Postcolonial Poverty and Migration in Moussa Touré’s La Pirogue
  2. Jeanne Garane
  3. pp. 178-192
  4. DOI: https://doi.org/10.2979/blackcamera.6.1.178
  5. restricted access

Close-Up Gallery

  1. Women on the Algerian Art Scene: Interrogating the Postcolonial Gaze through Documentary and Video Art
  2. Delphine Letort, Emmanuelle Cherel
  3. pp. 193-214
  4. DOI: https://doi.org/10.2979/blackcamera.6.1.193
  5. restricted access

Africultures Dossier

  1. “We need to think again from the beginning!”: Interview with Erez Pery about Sderot, Last Exit, and the School of Sound and Screen Arts at Sappir College, Israel
  2. Olivier Barlet, Erez Pery
  3. pp. 215-219
  4. DOI: https://doi.org/10.2979/blackcamera.6.1.215
  5. restricted access
  1. Sderot, seconde classe / Sderot, Last Exit by Osvalde Lewat (review)
  2. Olivier Barlet, Melissa Thackway
  3. pp. 219-220
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  1. Ici on noie les Algériens: 17 Octobre 1961 / Here We Drown Algerians: October 17, 1961 by Yasmina Adi (review)
  2. Olivier Barlet, Beti Ellerson
  3. pp. 220-222
  4. restricted access
  1. Sur la planche / On the Edge by Leïla Kilani (review)
  2. Olivier Barlet, Beti Ellerson
  3. pp. 223-224
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Book Reviews

  1. The Films of Ousmane Sembène: Discourse, Politics, and Culture by Amadou Fofana (review)
  2. Jason Silverman
  3. pp. 225-228
  4. restricted access
  1. Hip Hop Africa: New African Music in a Globalizing World ed. by Eric Charry (review)
  2. Imani Kai Johnson
  3. pp. 228-231
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Archival News

  1. News from the Black Film Center/Archive
  2. Nzingha Kendall
  3. pp. 232-235
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  1. Professional Notes and Research Sources
  3. p. 236
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  1. Notes on Contributors
  3. pp. 237-240
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  1. Call for Submissions
  3. pp. 241-242
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