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Black Camera, a journal of Black film studies, is devoted to the study and documentation of the Black cinematic experience and aims to engender and sustain a formal academic discussion of Black film production. The journal includes reviews of historical as well as contemporary books and films, researched critiques of recent scholarship on Black film, interviews with accomplished film professionals, and editorials on the development of Black creative culture. Black Camera challenges received and established views and assumptions about the traditions and practices of filmmaking in the African diaspora, where new and longstanding cinematic formations are in play. The journal devotes issues or sections of issues to national cinemas, as well as independent, marginal, or oppositional films and cinematic formations.

African Americans in the motion picture industry --- African Americans in motion pictures --- Afro-Americans in motion pictures --- Negroes in moving-pictures --- Afro-Americans in the motion picture industry --- Negroes in the moving-picture industry --- Arts and Humanities --- General and Others --- Literature --- Society and Culture --- Motion pictures --- Race films --- Motion picture industry --- Afroamerykanie

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Focusing on two film traditions not normally studied together, Maria Pramaggiore examines more than two dozen Irish and African American films, including Do the Right Thing, In the Name of the Father, The Crying Game, Boyz N the Hood, The Snapper, and He Got Game, arguing that these films foreground practices of character identification that complicate essentialist notions of national and racial identity. The porous sense of self associated with moments of identification in these films offers a cinematic counterpart to W. E. B. Du Bois's potent concept of double consciousness, an epistemological standpoint derived from experiences of colonization, racialization, and cultural disruption. Characters in these films, Pramaggiore suggests, reject the national paradigm of insider and outsider in favor of diasporic both/and notions of self, thereby endorsing the postmodern concept of identity as performance.

African Americans in the motion picture industry. --- African Americans in motion pictures. --- Motion pictures --- Afro-Americans in the motion picture industry --- Negroes in the moving-picture industry --- Motion picture industry --- Race films --- Afro-Americans in motion pictures --- Negroes in moving-pictures

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Can films about black characters, produced by white filmmakers, be considered "black films"? In answering this question, Mark Reid reassesses black film history, carefully distinguishing between films controlled by blacks and films that utilize black talent, but are controlled by whites. Previous black film criticism has "buried" the true black film industry, Reid says, by concentrating on films that are about, but not by, blacks.Reid's discussion of black independent films—defined as films that focus on the black community and that are written, directed, produced, and distributed by blacks—ranges from the earliest black involvement at the turn of the century up through the civil rights movement of the Sixties and the recent resurgence of feminism in black cultural production. His critical assessment of work by some black filmmakers such as Spike Lee notes how these films avoid dramatizations of sexism, homophobia, and classism within the black community.In the area of black commercial film controlled by whites, Reid considers three genres: African-American comedy, black family film, and black action film. He points out that even when these films use black writers and directors, a black perspective rarely surfaces.Reid's innovative critical approach, which transcends the "black-image" language of earlier studies—and at the same time redefines black film—makes an important contribution to film history. Certain to attract film scholars, this work will also appeal to anyone interested in African-American and Women's Studies.

African Americans in the motion picture industry --- African Americans in motion pictures --- Film --- Music, Dance, Drama & Film --- Afro-Americans in motion pictures --- Negroes in moving-pictures --- Motion pictures --- Race films --- Afro-Americans in the motion picture industry --- Negroes in the moving-picture industry --- Motion picture industry --- African Americans in motion pictures. --- African Americans in the motion picture industry.

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African Americans in motion pictures. --- African Americans in motion pictures --- African Americans in the motion picture industry --- African Americans in the motion picture industry. --- Music, Dance, Drama & Film --- Film --- Afro-Americans in the motion picture industry --- Negroes in the moving-picture industry --- Motion picture industry --- Race films --- Afro-Americans in motion pictures --- Negroes in moving-pictures --- Motion pictures --- Southern Methodist University. --- Tyler, Texas, Black Film Collection --- Southwest Film/Video Archives

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Surveys the involvement of Blacks in the American cinema from World War II to the 1950's, discussing the attention to black life in films such as ""Cabin in the Sky"", ""Pinky"" and ""Intruder in the Dust"". It also depicts the rise of black film stars such as Sidney Poitier.

African Americans in the motion picture industry --- Afro-Americains dans l'industrie du film --- Afro-Amerikanen in de filmindustrie --- African Americans in the motion picture industry. --- Afro-Americans in the motion picture industry --- Negroes in the moving-picture industry --- Race films --- Noirs américains dans l'industrie cinématographique --- #SBIB:309H1320 --- #SBIB:309H1326 --- 791.43 --- Motion picture industry --- 791.43 Filmkunst. Films. Cinema --- Filmkunst. Films. Cinema --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- History.