Type: Chapter; Page start: ; Page end: Is part of Book. Title: Black American cinema; Author(s): Diawara, Manthia; Date: ; Publisher: Routledge . Type: Chapter; Author(s): M Diawara; Date: Is part of Book. Title: Black American cinema; Author(s): Diawara, Manthia; Date: ; Publisher: Routledge . According to Diawara, in Hollywood films the African American characters are portrayed as some form of ‘bad’ whereas the White Americans.

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I do want to point out, however, that essays can be written at-length on the issue because of gaping absences and omissions of Blackness and formulaic treatments of Blackness—or any underrepresented identity—on the whole. Furthermore, one can certainly understand how this form of spectatorship can and should extend to other forms of popular culture.

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Search all titles Search all collections. I should note that I am not under any circumstances trying to suggest that one Black work will satisfy the Black monolith, because no such thing exists. Notify me of new comments via email.

Black Spectatorship by Ryan Williams on Prezi

Diawara suggests that, to some degree, the terms resisting spectator and black spectator are interchangeable, for many African American filmgoers long have had to resist and negotiate with the ways in which they historically have been represented on the silver screen.

Soviet cinema and the fantasy of no limits. Leave a Reply B,ack reply Enter your comment here As such, the goal of Resisting Spectator is to do just that: You do not currently have access to this article.

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Post was not sent – check your diwaara addresses! Dominant cinema is so good, and so universal that it is imposed, engraved even, on the rest of the world to the point of colonial self-loathing.


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Response: Diawara, Black Spectatorship

This site uses cookies. But if this cinema is to exist, sustain itself, even thrive it must do as Diawara says. ScreenVolume 29, Issue 4, 1 OctoberPages 66—79, https: Email required Address never made public.

Sign In or Create an Account. In the film, one white man kills 6, Africans. The manner in which Black spectators may circumvent identification and resist the persuasive elements of Hollywood narrative and spectacle informs both a challenge to certain theories of spectatorship and the aesthetics of AfroAmerican independent cinema.

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