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In this Issue

Table of Contents

  1. Phyllis Klotman (1924–2015): A Memorial Tribute
  3. pp. 7-16
  4. restricted access
  1. The Local Film Sensation in Ethiopia: Aesthetic Comparisons with African Cinema and Alternative Experiences
  2. Michael W. Thomas
  3. pp. 17-41
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.17
  5. restricted access
  1. Black and Cuba: Liberation, African American Studies, and the Tools of Third Cinema
  2. Robin Hayes
  3. pp. 42-59
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.42
  5. restricted access
  1. “I Just Wanted My Figures to Move”: The Filmmaking Practice of Mike Henderson
  2. Michael T. Martin
  3. pp. 60-90
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.60
  5. restricted access
  1. Making Art, Making Life: The Paintings of Mike Henderson
  2. Mark Hain, Michael T. Martin
  3. pp. 91-109
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.91
  5. restricted access
  1. “The Brown Bag of Miscellany”: Zora Neale Hurston and the Practice of Overexposure
  2. Autumn Womack
  3. pp. 115-133
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.115
  5. restricted access
  1. Social Death and Narrative Aporia in 12 Years a Slave
  2. Frank B. Wilderson III
  3. pp. 134-149
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.134
  5. restricted access
  1. Tip Toes and River Rolls: Overhearing Enslavement
  2. Shana L. Redmond
  3. pp. 150-161
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.150
  5. restricted access
  1. Reinventing Capacity: Black Femininity’s Lyrical Surplus, and the Cinematic Limits of 12 Years a Slave
  2. Rizvana Bradley
  3. pp. 162-178
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.162
  5. restricted access
  1. Bastard Allegories: Black British Independent Cinema
  2. David Marriott
  3. pp. 179-198
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.179
  5. restricted access
  1. Blackness and Legend
  2. James Edward Ford III
  3. pp. 199-217
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.199
  5. restricted access
  1. On the Chronopolitics of Black Social Life; or, How Mister Winfield “Sends Go”
  2. M. Shadee Malaklou
  3. pp. 218-237
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.218
  5. restricted access
  1. FESPACO 2015: After the Transition, What Next?
  2. Olivier Barlet, Melissa Thackway
  3. pp. 238-250
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.238
  5. restricted access
  1. Teaching African Women in Cinema, Part One
  2. Beti Ellerson
  3. pp. 251-261
  4. DOI: https://doi.org/10.2979/blackcamera.7.2.14
  5. restricted access
  1. Statement by African Women Professionals of Cinema, Television and Video, presented at FEPACI (Fédération panafricaine des cinéastes), Ouagadougou, Burkina Faso, 1991
  3. pp. 262-264
  4. restricted access
  1. Richard E. Norman and Race Filmmaking by Barbara Tepa Lupack (review)
  2. Paul Hansom
  3. pp. 265-267
  4. restricted access
  1. The Black Irish Onscreen: Representing Black and Mixed-Race Identities on Irish Film and Television by Zélie Asava (review)
  2. Isabelle Le Corff
  3. pp. 267-270
  4. restricted access
  1. The Subject of Film and Race: Retheorizing Politics, Ideology, and Cinema by Gerald Sim (review)
  2. Geoffrey Luurs
  3. pp. 270-272
  4. restricted access
  1. The Baraka Film Archive: The Lost, Unmade, and Unseen Film Work of LeRoi Jones/Amiri Baraka
  2. Whitney Strub
  3. pp. 273-287
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.273
  5. restricted access
  1. Archival News
  3. pp. 288-292
  4. restricted access
  1. Professional Notes and Research Sources
  3. pp. 293-294
  4. restricted access
  1. Editor’s Notes
  3. pp. 1-2
  4. restricted access
  1. Introduction
  2. James Edward Ford III
  3. pp. 110-114
  4. DOI: https://doi.org/10.2979/blackcamera.7.1.110
  5. restricted access