Black Camera

In this Issue

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Selma: The Historical Record and the American Imaginary

pp. 3-4

Forging a New Path: Plurality, Social Change, and Innovation in Contemporary Senegalese Cinema

pp. 5-6

Two Screenplays by Charles Burnett: Bless Their Little Hearts (1984) and Man in a Basket (2003)

James Naremore

pp. 7-24

DOI: https://doi.org/10.2979/blackcamera.8.2.01

Backup Singers, Celebrity Culture, and Civil Rights: Racializing Space and Spatializing Race in 20 Feet from Stardom

David Scott Diffrient

pp. 25-49

DOI: https://doi.org/10.2979/blackcamera.8.2.02

Queering The Mammy: New Queer Cinema's Version of an American Institution in Cheryl Dunye's The Watermelon Woman

Clitha Mason

pp. 50-74

DOI: https://doi.org/10.2979/blackcamera.8.2.03

No Medicine for Melancholy: Cinema of Loss and Mourning in the Era of #BlackLivesMatter

Michele Prettyman Beverly

pp. 81-103

DOI: https://doi.org/10.2979/blackcamera.8.2.05

All Lives (Don't) Matter: The Internet Meets Afro-Pessimism and Black Optimism

Charles "Chip" P. Linscott

pp. 104-119

DOI: https://doi.org/10.2979/blackcamera.8.2.06

Dreams are colder than Death and the Gathering of Black Sociality

Alessandra Raengo

pp. 120-140

DOI: https://doi.org/10.2979/blackcamera.8.2.07

From Boys to Men: Hip-Hop, Hood Films, and the Performance of Contemporary Black Masculinity

Robin M. Boylorn

pp. 146-164

DOI: https://doi.org/10.2979/blackcamera.8.2.09

U, (New) Black (?) Maybe: Nostalgia and Amnesia in Dope

I. Augustus Durham

pp. 165-182

DOI: https://doi.org/10.2979/blackcamera.8.2.10

"Fight the Power": Hip Hop and Civil Unrest in Spike Lee's Do the Right Thing

Casarae L. Gibson

pp. 183-207

DOI: https://doi.org/10.2979/blackcamera.8.2.11

"True to the Game": Straight Outta Compton's Affirmation of White Supremacist Capitalist Patriarchy

Adam Haupt

pp. 208-225

DOI: https://doi.org/10.2979/blackcamera.8.2.12

"We Don't Die, We Multiply": Bebe's Kids, Hip-Hop Aesthetics, and Black Feature Animation

Peter C. Kunze

pp. 226-242

DOI: https://doi.org/10.2979/blackcamera.8.2.13

"And You Know This, Man!": Love, Humor, and Masculinity in Friday

Brandon J. Manning

pp. 243-254

DOI: https://doi.org/10.2979/blackcamera.8.2.14

Jay Z's American Gangster

Kenton Rambsy

pp. 255-266

L'Arbre sans fruit / The Fruitless Tree by Aïcha Elhadj Macky: Woman among Mothers

Olivier Barlet, Beti Ellerson

pp. 267-268

DOI: https://doi.org/10.2979/blackcamera.8.2.16

La Permanence / On Call, by Alice Diop

Olivier Barlet, Beti Ellerson

pp. 269-271

Traveling Gazes: Glocal Imaginaries in the Transcontinental, Transnational, Exilic, Migration, and Diasporic Cinematic Experiences of African Women

Beti Ellerson

pp. 272-289

DOI: https://doi.org/10.2979/blackcamera.8.2.18

L.A. Rebellion: Creating a New Black Cinema by Allyson Nadia Field, Jan-Christopher Horak, and Jacqueline Najuma Stewart (review)

Delphine Letort, Ana-Catharina Santos Silva

pp. 290-295

Nollywood Central by Jade L. Miller (review)

Añulika Agina

pp. 295-297

Archival Spotlight: Community Archiving with the National Black Programming Consortium

Robert Anen

pp. 298-303

DOI: https://doi.org/10.2979/blackcamera.8.2.0298

Archival News

Yalie Kamara

pp. 304-311

DOI: https://doi.org/10.2979/blackcamera.8.2.0304

Professional Notes and Research Sources

pp. 312-313

Editor's Notes

Michael T. Martin

pp. 1-2

Introduction: #BlackLivesMatter and the Mediatic Lives of a Movement

Charles "Chip" P. Linscott

pp. 75-80

DOI: https://doi.org/10.2979/blackcamera.8.2.04

Introduction: Hip-Hop Cinema as a Lens of Contemporary Black Realities

Regina N. Bradley

pp. 141-145

DOI: https://doi.org/10.2979/blackcamera.8.2.08

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Volume 8, Number 1, Fall 2016 (New Series)

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Additional Information
ISSN	1947-4237
Print ISSN	1536-3155
Launched on MUSE	2017-05-23
Open Access	No

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