In this Issue

Table of Contents

Editor’s Notes

Michael T. Martin
pp. 1-2
DOI: https://doi.org/10.2979/blc.00027
restricted access

Sambizanga (1972): Aesthetics and politics in the film of Sarah Maldoror—Black, African, anticolonialist, feminist

pp. 3-4
DOI: https://doi.org/10.2979/blc.00028
restricted access

An Introduction

Joseph E. Roskos, André Seewood
pp. 5-18
DOI: https://doi.org/10.2979/blc.00029
restricted access

Short Eyes and the Convergence of Nuyorican Poetry, Chicago Soul, and American Independent Cinema

Cynthia Baron
pp. 19-45
DOI: https://doi.org/10.2979/blc.00030
restricted access

“You Really Want to Mess with Whitey”: The Politics of Form in The Spook Who Sat by the Door

Mary C. Schmitt
pp. 46-70
DOI: https://doi.org/10.2979/blc.00031
restricted access

The Afro-Asian Rhetoric of Women’s Liberation in Pam Grier’s Coffy and Foxy Brown

Erick Raven
pp. 71-92
DOI: https://doi.org/10.2979/blc.00032
restricted access

A Noisy Protrusion: Queer Blackness, Practical Effects, and Cinematic Sound in Jamaa Fanaka’s Welcome Home Brother Charles

Patrick F. Walter
pp. 93-121
DOI: https://doi.org/10.2979/blc.00033
restricted access

“Dreams do come true!”: Black Queer Comedy in Rudy Ray Moore’s The Human Tornado

Ken Feil
pp. 122-146
DOI: https://doi.org/10.2979/blc.00034
restricted access

“I’m going to make sure your last few breaths feel like hell”: Blaxploitation as a Language for Black Women’s Vengeance in Alice

Matt Richardson
pp. 147-161
DOI: https://doi.org/10.2979/blc.00035
restricted access

Da Time Is Out of (a Spike Lee) Joint: Haunting Genre as Late Style in Da Sweet Blood of Jesus and Da 5 Bloods

S.A. Wilder
pp. 162-180
DOI: https://doi.org/10.2979/blc.00036
restricted access

An Introduction

Samuel Smucker
pp. 181-191
DOI: https://doi.org/10.2979/blc.00037
restricted access

Ain’t Supposed to Die a Natural Death: A Theatrical Counterpoint to Sweetback

Santi Elijah Holley
pp. 192-207
DOI: https://doi.org/10.2979/blc.00038
restricted access

“Support Your Local Pornographer!”: Radical Sexual Politics and the Making of Sweet Sweetback’s Baadasssss Song!

Amy Abugo Ongiri
pp. 208-225
DOI: https://doi.org/10.2979/blc.00039
restricted access

The Cinematic Break: DJ Aesthetics and Political Subjectivity in Melvin Van Peebles

Matthew Holtmeier
pp. 226-248
DOI: https://doi.org/10.2979/blc.00040
restricted access

Melvin Van Peebles’s Hara-Kiri Tale(s) of Sex and Race

Delphine Letort
pp. 249-263
DOI: https://doi.org/10.2979/blc.00041
restricted access

A Portrait of the Artist as a Young Man: The Correspondence of Melvin Van Peebles with Kermit Eby and June Greenlief

Samuel Smucker
pp. 264-287
DOI: https://doi.org/10.2979/blc.00042
restricted access

“He Felt Like He Could Be His True Self Here”: An Interview with Christian Thivat, Producer of La Permission / Story of a Three Day Pass

Samuel Smucker, Nathan Rabord
pp. 288-308
DOI: https://doi.org/10.2979/blc.00043
restricted access

“That Was All Melvin!”: An Interview with John B. Bennett, Producer of Watermelon Man

Samuel Smucker
pp. 309-332
DOI: https://doi.org/10.2979/blc.00044
restricted access

Between Burlesque and Black Horror: An Interview with Producer Jean-Pierre Saire on Melvin Van Peebles’s Le Conte du Ventre Plein / Bellyful

Samuel Smucker
pp. 333-351
DOI: https://doi.org/10.2979/blc.00045
restricted access

Chester Himes, l’invaincu / The Undefeated Chester Himes

Melvin Van Peebles
pp. 352-364
DOI: https://doi.org/10.2979/blc.00046
restricted access

Le droit d’être ordinaire / The Right to Be Ordinary (1967)

Melvin Van Peebles
pp. 365-372
DOI: https://doi.org/10.2979/blc.00047
restricted access

Melvin Van Peebles Bibliography, 1957–1969

Samuel Smucker
pp. 373-377
DOI: https://doi.org/10.2979/blc.00048
restricted access

FESPACO 2023, Part 4: The Future Stems from the Past

Olivier Barlet
pp. 378-384
DOI: https://doi.org/10.2979/blc.00049
restricted access

Professional Notes and Research Resources

pp. 385-392
DOI: https://doi.org/10.2979/blc.00050
restricted access