Description
Readings and Screenings:Reading: Dunn, “Black Power and the New Baad Cinema” in “Baad Bitches” and Sassy Supermamas: Black Power Action Films, pp. 35-54Reading: Abugo Ongiri, “You Better Watch This Good Shit!” Black Spectatorship, Black Masculinity, and Blaxploitation Film in Spectacular Blackness: The Cultural Politics of the Black Power Movement and the Search for a Black Aesthetic, pp. 159-185Reading: Bennet, “The Emancipation Orgasm: Sweetback in Wonderland”**Required section 112-118, Optional 106-112Reading: Newton, “He won’t bleed me: a revolutionary analysis of Sweet Sweetback’s Badasssss Song,” in Black Panther Intercommunal News Service, **Required section 1-9, Optional 1-14Screening: Sweet Sweetback’s Baadassss Song 1971 (Melvin Van Peebles, 97 min) Screening: Baaadasssss Cinema 2003 (Issac Julien, 53 min)Screening: Shaft 1971 (Gordan Parks, 100 min)In order to demonstrate your knowledge of course materials and your ability to make connections between the readings, lectures, and film screenings, you will answer three prompted questions that ask you to synthesize the course materials from the week (or to connect one week’s course materials to another week’s course materials). For more details on what is expected, and recommendations for a strong write-up, please see bullet point list below.Written clearly, proofread, organized in a clear and effective way (no more than 300 words per question)Addresses the questions directly and completely (especially, if there are multiple parts to the question)Demonstrates (even highlights) knowledge of the course materials, especially by constructing answers with examples that connect readings, lectures, and filmsIntegrates quotations from textbook, readings, lecture videos, or films (needs to be cited correctly, MLA style (Links to an external site.), and appropriately—not too much quotation, addressed in your own words after citing)Demonstrates deep analytical and critical thinking (through a cultural studies lens)Attentive to the political and historical context of the period, film, filmmaker, movement, etc. being written aboutWhen appropriate, develops a strong argument that is proven through well-chosen evidence that is vividly described in your answer1) Reconstruct the debate between Lerone Bennet and Huey Newton around Melvin Van Peebles’ Sweet Sweetback’s Baadasssss Song!. Then, make an argument about where you stand on the debate. (Please balance your own words with quotations and references to their reviews. Highly recommend using specific examples to make your own arguments as well).2) Closely analyze the following clip. With everything you have learned from Ongiri’s chapter and lecture video 3, construct an argument about the aesthetic, formal choices of this film clip and their possible significance. You may choose to focus on one or two cinematic aspects (mise-en-scene, cinematography, editing, sound, narrative structure), but make sure to refer to the clip as a whole (there are distinct, dynamic changes that happen in the clip). The goal is to answer the question of how cinematic form (everything you learned in 85A) constructs meaning elicits spectatorial responses from its viewers.3) With everything you have learned form this week (the historical and political context of the Black Power era, the debates and varied perspectives around the Blaxploitation genre, and the specificities around Black spectatorship) construct an argument in which you compare Sweetback to Shaft. With the limited space, I recommend focusing on one or two aspects of comparison. Strong answers will think critically, probing questions about power (do these films reproduce, negotiate, or resist dominant relations of power) and attending to the politics of form (cinematic, formal choices are always political).
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stereotype. Tliat way is to retleBne the black
image from a perspective free of the pressures
of white influences. But iu order to do that,
we must create freu black words, free, that is,
of the need to propitiiUe or to .curse white
folks, free black wortls that sculpt new images
of the black man, the black woman, and tlie
black child. To speak plainly, it is necessary
now to make a clear and black distinction between the white man’s sexy and true black
sexuality, to make a distinction between white
emotivity and free black emotion.s, to make
a distinction between thr white patriarchal bag
of male posturiug and prceuing aud a new
form of (uale-feinalr partucrship. In rnK\ it i^
our historical responsibility to draw up an inventory of values, .sejiaratinii the blaek core
of our experience not ouly Iroin white encrustations but also from destnictive life style;;
which had adapti\-e \’alue and were heuce
progressi\e at one stage of our development
but which have become regr(‘s.sive and retictionary and impede our forward movement.
Beyond all tliat, deejM-r than all that, is the
need to break free of all dichotomies. The
black genius, as objectified in the spirituals and
the blues and jazz, is contra dichotomies. This
is, as I said elsewheie. “the essential genius oí
the black tradition which does not recognize
the Platoiùc-Puritari fîithotomics of good-bad,
work-play, saered-pidfane, Tiiis has caused no
end of misuudcrstauding, even among blaek
mvtholoiiists, who elaborate, say. a bines mystique as opposed to a spiritual mystitjue. The
black tradition, read right, recognizes no .such
distinction. The bhies are tiie spirituals, sex is
sacrament, God is tlic devil, and every night ‘}•e borne for a moment and that it is a holy
duty—Allah requires it, Jehovah requires it.
Continued on Page MO
SWEETBACK
Continued
Dal !l halla requires it-to smash a sysh’m which
1wm1 its it, some mc·n foolishly itlentif y tht•
hl,tck al’s thC’tic with l’mpty bdl it·s and bi g-hol
to111ed prostitntC’s. Bnt to romanticize th l’
te,lrs a11d llll’ :t!!;Oll)” of thC’ rwopk is to play
them clwap as h uman beings. Thl’ t1·ars arC’
n•,tl, till’ ft>ar of till’ pimp ancl the> m uggPr and
tlw landlord is rc•al . Thl’ f a man is to wri t bottk, cl) ing in hroacl 01w11
cl,1) light. But to Ion· th
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