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Representations of Blackness in Popular Culture: Film . AS/HUMA 1300 9.0 Faculty of Arts March 18, 2009. Bamboozled. Dir. Spike Lee. Perf . Damon Wayans, Jada Pinkett -Smith, Michael Rapaport , Savion Glover, Tommy Davidson, and Mos Def. Forty Acres & a Mule Filmworks , 2000. .

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Representations of blackness in popular culture film l.jpg

Representations of Blackness in Popular Culture: Film

AS/HUMA 1300 9.0

Faculty of Arts

March 18, 2009


Slide2 l.jpg

Bamboozled. Dir. Spike Lee. Perf. Damon Wayans, JadaPinkett-Smith, Michael Rapaport, Savion Glover, Tommy Davidson, and Mos Def. Forty Acres & a Mule Filmworks, 2000.


Viewing guiding questions for bamboozled prepared by mark campbell l.jpg

1. How is the character of Pierre Delacroix both complicated and conflicted by his family, and familial obligations?

2. What is the role of the minstrel trinkets, in particular the jolly nigger bank, in the film, in Pierre’s consciousness, and within the wider realm of American

consumer society?

3. What effect does the Manray character, without the blackface, have on audience members, regardless of gender, age and “race”?

4. What do you think Spike Lee is saying about audiences, in particular the live

audience that views the taping of the show?

5. What is the position of rap music within the film, and the entertainment

industry as a whole, as articulated by the film, Bamboozled?

6. What does Sloan’s character say about gender relations in the workplace

and within the family unit?

Viewing/Guiding Questions for Bamboozledprepared by Mark Campbell


First cinema l.jpg

1. Hollywood movies are its model; and conflicted by his family, and familial obligations?

2. Made for exhibition in large theatres;

3. Film as pure spectacle/entertainment;

4. Spectator/audience as passive consumer;

5. Satisfies commercial interests of

production companies—transnational

monopoly capital;

6. Maintains hegemony through its power

structure.

First Cinema


Second cinema l.jpg

1. Art cinema or new wave cinema; and conflicted by his family, and familial obligations?

2. Often based on a European rather than a

US aesthetic model;

3. Elitist, middle-class, intellectual;

4. Often nihilist, pessimist, mystifacatory.

Second Cinema


Third cinema l.jpg

1. Originating in 1960s Argentina, term refers and conflicted by his family, and familial obligations?

to a socially committed cinema, mainly but

not exclusively from the “Third World”;

2. Political/militant cinema—radical in its

politics and approach to cinema;

3. Cinema of decolonisation, which expresses

will to national liberation, and is anti-

mythic, anti-racist, anti-bourgeois.

Third Cinema


Bell hooks and the oppositional gaze l.jpg

Black people must create spaces of agency and conflicted by his family, and familial obligations?

that allow them to interrogate the gaze of the

Other and return the gaze critically.

Interrogating black looks must be concerned

not only with issues of race and racism, but

also issues of gender [and sexuality].

bell hooks and the oppositional gaze


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