In this Issue

Table of Contents

Editor's Notes

Michael T. Martin
pp. 1-3
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Calls for Close-Up Submissions

Contemporary Cuban Cinema

pp. 4-5
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Nina Simone, Now

pp. 6-7
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BlacKkKlansman (2018): On the Right Side of History

pp. 8-9
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Calls for Book Chapter Submissions

Edited Volume on Contemporary Black Hollywood

pp. 10-11
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Three-Volume Collection on the History of FESPACO (1969–2019)

p. 12
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Interviews

Black Women Becoming Whole: Bridgett M. Davis on Naked Acts

Noelle Griffis, Michael T. Martin
pp. 13-39
DOI: https://doi.org/10.2979/blackcamera.11.1.02
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The Practice of Curating the June Givanni Pan African Cinema Archive: A Conversation with the Founding Director

Michael T. Martin
pp. 40-61
DOI: https://doi.org/10.2979/blackcamera.11.1.03
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Articles

Beyond Category: Black Souls On-Screen

Franklin Cason Jr.
pp. 62-88
DOI: https://doi.org/10.2979/blackcamera.11.1.04
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Recovering the Chicano Social Problem Film: Racial Consciousness, Rita Moreno, and the Historiography of The Ring (1952)

Frank García
pp. 89-122
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CLOSE-UP: Caribbean Cinema as Cross-Border Dialogue

Introduction

Jane Bryce
pp. 123-129
DOI: https://doi.org/10.2979/blackcamera.11.1.06
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Cuban Independent Documentary and Nonofficial Journalism: The Two Faces of Janus

Antonio Enrique González Rojas
pp. 130-141
DOI: https://doi.org/10.2979/blackcamera.11.1.07
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Wind, Water, Women: Liminal Spaces and Border Crossings Between Puerto Rico and the Dominican Republic

Mary Leonard
pp. 142-166
DOI: https://doi.org/10.2979/blackcamera.11.1.08
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Caribbeing Continuum: Progression of a Cinema Eyealect in the Motion Picture Feature Haiti Bride

Yao Ramesar
pp. 167-179
DOI: https://doi.org/10.2979/blackcamera.11.1.09
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A Voice of Their Own: Narrative Obscurity and African History in the Cinema of Raoul Peck

Julianna Blair Watson
pp. 180-200
DOI: https://doi.org/10.2979/blackcamera.11.1.10
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A Pan-African Perspective on Apartheid, Torture, and Resistance in Euzhan Palcy's A Dry White Season

Jacqueline Maingard
pp. 201-213
DOI: https://doi.org/10.2979/blackcamera.11.1.11
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"The Race to Modernization": Film Culture in the British West Indies Around the Mid-Twentieth Century

Rachel Moseley-Wood
pp. 214-241
DOI: https://doi.org/10.2979/blackcamera.11.1.12
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"Our Voices, Our Stories, Our Films": Programming the Trinidad and Tobago Film Festival

Jonathan Ali
pp. 242-264
DOI: https://doi.org/10.2979/blackcamera.11.1.13
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A Conversation with Storm Saulter

Connor Ryan
pp. 265-280
DOI: https://doi.org/10.2979/blackcamera.11.1.14
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Beyond a Boundary: The Gangsta as Modern Black Subject in Contemporary Jamaican Art Practices

Jane Bryce
pp. 281-303
DOI: https://doi.org/10.2979/blackcamera.11.1.15
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CLOSE-UP: JAY-Z

Introduction: The Evolution of JAY-Z

Stephanie Li
pp. 304-306
DOI: https://doi.org/10.2979/blackcamera.11.1.16
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For the Culture, for the Future: Keeping Black Time in JAY-Z's 4:44

Lauren McLeod Cramer
pp. 307-330
DOI: https://doi.org/10.2979/blackcamera.11.1.17
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JAY-Z's Borrowed Time

Samuel Dwinell
pp. 331-347
DOI: https://doi.org/10.2979/blackcamera.11.1.18
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"There's a disconnect": The Entrepreneurial Ethics of JAY-Z and Donald Trump

Adam Coombs
pp. 348-365
DOI: https://doi.org/10.2979/blackcamera.11.1.19
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A Genealogical Interpretation of Plato's Allegory, Through the Lens of JAY-Z, the Re-Envisioned Philosopher King

ShaDawn Battle
pp. 366-384
DOI: https://doi.org/10.2979/blackcamera.11.1.20
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The Outside Meets the Institution: The Carters' "Apeshit" Video

Jenny Gunn
pp. 385-398
DOI: https://doi.org/10.2979/blackcamera.11.1.21
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A Conversation with Kevin Young

Tiffany E. Barber
pp. 399-406
DOI: https://doi.org/10.2979/blackcamera.11.1.22
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Africultures Dossier

FESPACO 2019: Moving Toward Resurrection

Olivier Barlet, Chloe Farrell
pp. 407-423
DOI: https://doi.org/10.2979/blackcamera.12.1.29
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African Women in Cinema Dossier

African Women on the Film Festival Landscape: Organizing, Showcasing, Promoting, Networking

Beti Ellerson, Falila Gbadamassi
pp. 424-456
DOI: https://doi.org/10.2979/blackcamera.11.1.24
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Film Review

Film Review: Us

David C. Wall
pp. 457-461
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Professional Notes and Research Sources

Professional Notes and Research Sources

Megan Connor, Katherine A. Johnson
pp. 462-469
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