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In this Issue

Table of Contents

  1. Editor’s Notes
  2. Michael T. Martin
  3. pp. 1-2
  4. DOI: https://doi.org/10.2979/blc.00027
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  1. Sambizanga (1972): Aesthetics and politics in the film of Sarah Maldoror—Black, African, anticolonialist, feminist
  2. pp. 3-4
  3. DOI: https://doi.org/10.2979/blc.00028
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  1. An Introduction
  2. Joseph E. Roskos, André Seewood
  3. pp. 5-18
  4. DOI: https://doi.org/10.2979/blc.00029
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  1. Short Eyes and the Convergence of Nuyorican Poetry, Chicago Soul, and American Independent Cinema
  2. Cynthia Baron
  3. pp. 19-45
  4. DOI: https://doi.org/10.2979/blc.00030
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  1. “You Really Want to Mess with Whitey”: The Politics of Form in The Spook Who Sat by the Door
  2. Mary C. Schmitt
  3. pp. 46-70
  4. DOI: https://doi.org/10.2979/blc.00031
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  1. The Afro-Asian Rhetoric of Women’s Liberation in Pam Grier’s Coffy and Foxy Brown
  2. Erick Raven
  3. pp. 71-92
  4. DOI: https://doi.org/10.2979/blc.00032
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  1. A Noisy Protrusion: Queer Blackness, Practical Effects, and Cinematic Sound in Jamaa Fanaka’s Welcome Home Brother Charles
  2. Patrick F. Walter
  3. pp. 93-121
  4. DOI: https://doi.org/10.2979/blc.00033
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  1. “Dreams do come true!”: Black Queer Comedy in Rudy Ray Moore’s The Human Tornado
  2. Ken Feil
  3. pp. 122-146
  4. DOI: https://doi.org/10.2979/blc.00034
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  1. “I’m going to make sure your last few breaths feel like hell”: Blaxploitation as a Language for Black Women’s Vengeance in Alice
  2. Matt Richardson
  3. pp. 147-161
  4. DOI: https://doi.org/10.2979/blc.00035
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  1. Da Time Is Out of (a Spike Lee) Joint: Haunting Genre as Late Style in Da Sweet Blood of Jesus and Da 5 Bloods
  2. S.A. Wilder
  3. pp. 162-180
  4. DOI: https://doi.org/10.2979/blc.00036
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  1. An Introduction
  2. Samuel Smucker
  3. pp. 181-191
  4. DOI: https://doi.org/10.2979/blc.00037
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  1. Ain’t Supposed to Die a Natural Death: A Theatrical Counterpoint to Sweetback
  2. Santi Elijah Holley
  3. pp. 192-207
  4. DOI: https://doi.org/10.2979/blc.00038
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  1. “Support Your Local Pornographer!”: Radical Sexual Politics and the Making of Sweet Sweetback’s Baadasssss Song!
  2. Amy Abugo Ongiri
  3. pp. 208-225
  4. DOI: https://doi.org/10.2979/blc.00039
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  1. The Cinematic Break: DJ Aesthetics and Political Subjectivity in Melvin Van Peebles
  2. Matthew Holtmeier
  3. pp. 226-248
  4. DOI: https://doi.org/10.2979/blc.00040
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  1. Melvin Van Peebles’s Hara-Kiri Tale(s) of Sex and Race
  2. Delphine Letort
  3. pp. 249-263
  4. DOI: https://doi.org/10.2979/blc.00041
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  1. A Portrait of the Artist as a Young Man: The Correspondence of Melvin Van Peebles with Kermit Eby and June Greenlief
  2. Samuel Smucker
  3. pp. 264-287
  4. DOI: https://doi.org/10.2979/blc.00042
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  1. “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
  2. Samuel Smucker, Nathan Rabord
  3. pp. 288-308
  4. DOI: https://doi.org/10.2979/blc.00043
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  1. “That Was All Melvin!”: An Interview with John B. Bennett, Producer of Watermelon Man
  2. Samuel Smucker
  3. pp. 309-332
  4. DOI: https://doi.org/10.2979/blc.00044
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  1. Between Burlesque and Black Horror: An Interview with Producer Jean-Pierre Saire on Melvin Van Peebles’s Le Conte du Ventre Plein / Bellyful
  2. Samuel Smucker
  3. pp. 333-351
  4. DOI: https://doi.org/10.2979/blc.00045
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  1. Chester Himes, l’invaincu / The Undefeated Chester Himes
  2. Melvin Van Peebles
  3. pp. 352-364
  4. DOI: https://doi.org/10.2979/blc.00046
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  1. Le droit d’être ordinaire / The Right to Be Ordinary (1967)
  2. Melvin Van Peebles
  3. pp. 365-372
  4. DOI: https://doi.org/10.2979/blc.00047
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  1. Melvin Van Peebles Bibliography, 1957–1969
  2. Samuel Smucker
  3. pp. 373-377
  4. DOI: https://doi.org/10.2979/blc.00048
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  1. FESPACO 2023, Part 4: The Future Stems from the Past
  2. Olivier Barlet
  3. pp. 378-384
  4. DOI: https://doi.org/10.2979/blc.00049
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  1. Professional Notes and Research Resources
  2. pp. 385-392
  3. DOI: https://doi.org/10.2979/blc.00050
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