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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


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    1. Representations of Blackness in Popular Culture: Film AS/HUMA 1300 9.0 Faculty of Arts March 18, 2009

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

    3. 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

    4. 1. Hollywood movies are its model; 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

    5. 1. Art cinema or new wave cinema; 2. Often based on a European rather than a US aesthetic model; 3. Elitist, middle-class, intellectual; 4. Often nihilist, pessimist, mystifacatory. Second Cinema

    6. 1. Originating in 1960s Argentina, term refers 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

    7. Black people must create spaces of agency 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