In lieu of an abstract, here is a brief excerpt of the content:
It is not news to say that black film in the twenty-first
century is alive and successful. The critical acclaim, box-office
success, and ratings gold that met such recent black films as
The Best Man Holiday (Malcolm D. Lee, 2013), 12
Years a Slave (Steve McQueen, 2013), Fruitvale
Station (Ryan Coogler, 2013), Precious and
The Butler
... [Show full abstract] (both by Lee Daniels 2009, 2013),
Woman Thou Art Loosed (Michael Schultz, 2004),
Jumping the Broom (Salim Akil, 2011), Why Did I
Get Married and Why Did I Get Married Too
(Tyler Perry, 2007, 2010), as well as cable television movies like
Dark Girls (Bill Duke and D. Channsin Berry, 2011),
among others, attest to this fact. Moreover, this prolific output
may seem at once extraordinary and expected in the era of President
Obama. However, upon reflection it becomes evident that these texts
constitute the latest iteration of a familiar cycle of black film
production over time. Clearly, for even casual observers, the
elastic category of “black film” and its cyclical manifestations
over a historical continuum feature crucial and compelling
distinctions that sometimes parallel and sometimes lead dominant
Hollywood cinema, independent film, and experimental cinemas.
Neither is it news to say that technological innovation and
social change power most of the cyclical changes in black film. We
can easily trace these cultural and technological shifts back to
the silent-era black independents; the sound-era race films by
black indies as well as black-white coproductions, the indie films
of the civil rights era; the 1970s blaxploitation films, the LA
Rebellion and East Coast indies; the fin-de-siècle 1990s New
Jack cinema, and the Internet, most notably. Today’s wildly
successful crop, then, is long overdue, anticipated, and expected
when contextualized within this remarkable and persistent history
of twentieth-century black film productions against formidable
obstacles.
Black film and television, as portmanteau handles, are
characterized by a number of features and expressions that position
them astride powerful African diasporic cultural traditions and
dominant American mainstream media industrial practices that defy
simplistic or essentialist meanings or definitions. And further,
truth be told, epistemologies of black film from its inception in
the early 1910s through the end of the twentieth century have been
marked consistently by a lack of precision and clarity. Thus, black
film and other media continue to be overdetermined by debates and
binary thinking. There is an influential compendium of criticism
and scholarship about this span of filmic output over the
decades—criticism that tends to be as diffuse as the films,
filmmakers, and cinematic movements themselves. Of course, this is
predicated on the fact that categories are not so clearly
delineated in practice as they are for heuristic or teaching
purposes. Rather, black films often transcend and overlap neat
temporal and categorical frameworks.
What is news about black film today is its
audacious persistence and the fact that it flourishes despite
daunting odds and revolutionary changes in the media industrial
complex. As in earlier historical moments, black filmmakers were
once again in the vanguard of evolving media industry practices in
the new millennium. In particular, the twenty-first century
witnessed a powerful cadre of influential black culture agents,
both media industry insiders and outsiders, who adroitly leveraged
digital media’s participatory, interactive technology protocols to
advance their entries into the chaotic and uncharted territory of
emergent business models that were then being erected around new
digital technologies and social media, with legions of tech-savvy
gen Xers and millennials in tow. For example, in 1998 Oprah Winfrey
established Oprah.com. Following her successful model a decade or
so later, Spike Lee, Tyler Perry, Reverend T. D. Jakes, and others
took advantage of the Internet and social media’s game-changing
presence and powerful cultural feedback loops, using them to
solidify their own media brands while simultaneously recoding and
innovating twenty-first-century black cultural productions,
including transmedia narratives and adaptations, for new markets,
new fan communities, and expanding multicultural audiences.
Indeed, this is an opportune moment to consider the contours of
black film in the new millennium, not only because more than twenty
years have passed since the publication of the field’s seminal
works on the topic...