In this Issue

Table of Contents

Selma: The Historical Record and the American Imaginary

pp. 3-4
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Forging a New Path: Plurality, Social Change, and Innovation in Contemporary Senegalese Cinema

pp. 5-6
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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
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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
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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
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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
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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
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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
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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
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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
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"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
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"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
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"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
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"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
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Jay Z's American Gangster

Kenton Rambsy
pp. 255-266
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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
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La Permanence / On Call, by Alice Diop

Olivier Barlet, Beti Ellerson
pp. 269-271
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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
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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
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Nollywood Central by Jade L. Miller (review)

Añulika Agina
pp. 295-297
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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
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Archival News

Yalie Kamara
pp. 304-311
DOI: https://doi.org/10.2979/blackcamera.8.2.0304
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Professional Notes and Research Sources

pp. 312-313
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Editor's Notes

Michael T. Martin
pp. 1-2
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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
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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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