Balck Camera : close-ups Spike Lee's "BlacKkkKlansman" and Paulin S. Vieyra

Following the last three successive issues devoted to the African cinema and its formations in the Black diaspora, this issue returns the journal to its normal programming.

The spring 2022 issue includes two "close-ups": one about Spike Lee's "BlacKkkKlansman" and one about Sengalese filmmaker, producer and scholar Paulin S. Vieyra.

Other essays examine the content, style and effects of films, including "Get Out," "Branco sai, preto fica," "Life on Earth" and "The Nine Muses."

A scholarly publication supported by The Media School, the journal is edited by professor Michael Martin. Additionally, Media School doctoral student Allison Brown was appointed managing editor of Black Camera beginning this issue.

Table of contents :



Cinema Negro in Brazil: Disrupting the Visual and Discursive Foundations of Blackness in Branco sai, preto fica
- Leslie L. Marsh

Cultivating a Community of Viewers in Africa: How Sissako Frames Spectatorship and Performance in His Films
- Phyllis Taoua

Òrúnmìlà Epistemic Reproduction: Nigerian Film-Philosophy via Divinity and Orality
- Saheed Adesumbo Bello

John Akomfrah's The Nine Muses: A Reading with Glissant's "Relation" and Quantum Entanglement
- Kenneth W. Harrow

Kahlil Joseph, New Media, and the New Black Cinema: A Case for Situating Kahlil Joseph's Audiovisual Work Within the Theoretical Frameworks of African Film
- Joseph Owen Jackson

Speaking Animals: Fables of Resistance in Get Out, Sorry to Bother You, and Atlanta
- Caroline Hovanec and Sarah Juliet Lauro

Screaming with Laughter: How Jordan Peele's Get Out Rereads Obama by Rewriting the Black Messiah
- Thai-Catherine Matthews

Too Hot for TV: Black Sketch Comedy and the Politics of Crossing-Over
- Artel Great

Race as Special Effect: Michael Jackson, Captain EO, and the Borders of the Cosmos
- Graham L. Eng-Wilmot


Close-Up: BlacKkKlansman: "On the Right Side of History"?

Introduction: BlacKkKlansman, "On the Right Side of History"?
- Delphine Letort

Adapting BlacKkKlansman: "Based upon some fo' real, fo' real sh*t"
- Delphine Letort

Not Just Talk: The Politics of Enunciation in BlacKkKlansman
- Amelia Saunders

Twos and Threes: A Structural Analysis of BlacKkKlansman's Undercover Narrative
- Joshua Sperling

BlacKkKlansman and the "Sheets of the Past": Toward a Theory of Blacklash Cinema
- Jayson Baker
Close-Up: Paulin S. Vieyra, A Postcolonial Figure

Introduction
- Vincent Bouchard and Amadou Ouédraogo

[Early Years: Postcolonial Vision Before Independence]

Vieyra's Vision of Cinema on the Verge of Independences
- Odile Goerg

René Vautier and Paulin S. Vieyra: Contact of Cinéastes engagés
- Claire Fouchereaux

Rise of a Nation: An Exploration of Vieyra's Vision for Senegal Through Une nation est née
- Timothy Lomeli

African Realities in Motion: The Role of Dance in Vieyra's Films in Constructing Intersubjective African Identities
- Dana Vanderburgh

[Education and Nation Building at the Time of Independence]

Motor, Mirror, Reinvention: Paulin Soumanou Vieyra on the African Cinema to Come (1956-1961)
- Nikolaus Perneczky

Senegalese Wrestling as "National Sport" and Other Modern Myths in Lamb
- Silvio Marcus de Souza Correa

Paulin S. Vieyra's Iba N'Diaye: Seminal Modernists in Paint and Film
- Joseph L. Underwood

Paulin Soumanou Vieyra: Imposing his Voice Within an Imposed Value System
- Maria Loftus

Paulin Soumanou Vieyra, the Soviet Union, and Cold War Circuits for African Cinema, 1958-1978
- Elena Razlogova

[Archival News]

Paulin Soumanou Vieyra in the Documents of the Rediscovered Audiovisual Archive of the Senegalese Ministry of Culture
- Marco Lena

Welcoming Paulin Vieyra's Papers to Indiana University's Black Film Center & Archive
- Terri Francis

Reviews

Book Review: Samantha N. Sheppard, Sporting Blackness: Race, Embodiment, and Critical Muscle Memory on Screen
- Aja Witt

Film Review: La Negrada
- Javier Ramirez