Hip Hop, Cinema and African American Perspectives
Edition: 3
Copyright: 2022
Pages: 94
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Ebook
$93.24 USD
Hip Hop, Cinema and African American Perspectives offers theoretical analysis from film, cultural studies, and race perspectives. This e-book reflects an attempt to address these concerns in a way that privileges and contextualizes all three. Hip-hop cinema is framed as a phenomenon born within the United States and part of a continuum of many existing threads, such as resistance, celebrations of identity and of Black traditions. This publication secondarily acknowledges and explores the spread of hip-hop cinema among other ethnic groups and nationalities. It interlaces a broad range of areas and serves as a starting point for class discussion and individual student research. Each chapter offers a survey of positions by experts in many fields, as well as exercises to explore central themes.
Introduction
Chapter One Historical and Musical Background
Music in African American Life
The Blues
Politics and the Context of Hip-Hop’s Birth
Hip-Hop’s Birth
Using Theory to Interpret a Work of Art
Exercise 1
Chapter One Reference Sources
Chapter Two Stereotypes, Problematic Crossovers, and the Larger Cinematic Background
Origins and Crossovers
Early Cinema and a Dual Heritage
Mise-en-scène
Exercise 1
Exercise 2
Chapter Two Reference Sources
Chapter Three Black Males, Urban Life, and Gangstas
House Party and Do the Right Thing
Gangster Films and the African American “Outlaw”
The Outlaw Element – It’s Not All Hollywood
Exercise 1
Exercise 2
Chapter Three Reference Sources
Chapter Four Hip Hop Beyond
Turning Commercial and Leaving the House
Theoretical Hip Hop in the Mainstream
Crossover American Films
Hip Hop and Dance Films
Diversity in Other “Movement” Films
Hip Hop Cinema as Opera – More Expressions Beyond
Hip Hop Cinema in Other Nations
Exercise 1
Exercise 2
Chapter Four Reference Sources
Chapter Five Hip Hop and Black Romance
Romance and Other Themes
Exercise 1
Exercise 2
Chapter Five Reference Sources
Chapter Six Stars and Controversies
Stars and Directors Matter
Hip Hop Artists and Actors
Controversies/End of the Ebook
Chapter Six Reference Sources
Dr. Sanchez is primarily interested in racial representations in the media and in the study of African American history and culture. She worked for a number of years as an editor, broadcast journalist and as a media information specialist. She is also the first president of the Tucson Chapter Afro-American Historical and Genealogical Society (founded by Gloria Smith), an active member of the Tucson Black Film Club and is a member of the Womens Progressive and Civic Club. She has served as a State President of the National Association of Colored Women’s Clubs. Dr. Sanchez has a doctorate in Comparative Cultural and Literary studies; her masters degree focused on visual culture/art history while her undergraduate studies included Radio and Television.
She has lectured in Tucson and other cities on Black history, racial representations in film, and on African American family history and genealogy. Her wide-ranging background in broadcast and written journalism as well as in public affairs has included overseas assignments in the U.S. Army and a stint in the Arizona National Guard. Her academic writings have been published in two anthologies; she has created political videos and has written and edited books and newsletters for community based associations. In addition to classes in Africana Studies, Dr. Sanchez has also taught art history and art appreciation courses.
She believes, “It is especially important for people to be educated in Africana studies subjects because our everyday lives are heavily influenced by racism and the impact of centuries of colonialism. However, many people are not exposed to the insightful types of analysis that comes from the view point of the subjugated. Some students believe learning about race and the history of it in America perpetuates racism. I sometimes hear them say ‘if you just don’t talk about it, it will go away’ or they say discussing racial history creates racism and bad feelings. But if racial problems and their origins are simply ignored, long-standing continuing oppression will persist. Many will continue to perceive ordinary, everyday discriminatory practices as normal, not realizing how they affect others. They won't understand the impact on our collective lives or how we can all, regardless of race, participate in something that is oppressive or liberating. The disparity in wealth among races is just one of many statistics clearly indicating something is clearly out of balance! We need black theoretical perspectives and a more complete history factored into our learning.
She adds, "How can anyone critically assess what is happening today in our society and find solutions with only a portion of the picture?”
Hip Hop, Cinema and African American Perspectives offers theoretical analysis from film, cultural studies, and race perspectives. This e-book reflects an attempt to address these concerns in a way that privileges and contextualizes all three. Hip-hop cinema is framed as a phenomenon born within the United States and part of a continuum of many existing threads, such as resistance, celebrations of identity and of Black traditions. This publication secondarily acknowledges and explores the spread of hip-hop cinema among other ethnic groups and nationalities. It interlaces a broad range of areas and serves as a starting point for class discussion and individual student research. Each chapter offers a survey of positions by experts in many fields, as well as exercises to explore central themes.
Introduction
Chapter One Historical and Musical Background
Music in African American Life
The Blues
Politics and the Context of Hip-Hop’s Birth
Hip-Hop’s Birth
Using Theory to Interpret a Work of Art
Exercise 1
Chapter One Reference Sources
Chapter Two Stereotypes, Problematic Crossovers, and the Larger Cinematic Background
Origins and Crossovers
Early Cinema and a Dual Heritage
Mise-en-scène
Exercise 1
Exercise 2
Chapter Two Reference Sources
Chapter Three Black Males, Urban Life, and Gangstas
House Party and Do the Right Thing
Gangster Films and the African American “Outlaw”
The Outlaw Element – It’s Not All Hollywood
Exercise 1
Exercise 2
Chapter Three Reference Sources
Chapter Four Hip Hop Beyond
Turning Commercial and Leaving the House
Theoretical Hip Hop in the Mainstream
Crossover American Films
Hip Hop and Dance Films
Diversity in Other “Movement” Films
Hip Hop Cinema as Opera – More Expressions Beyond
Hip Hop Cinema in Other Nations
Exercise 1
Exercise 2
Chapter Four Reference Sources
Chapter Five Hip Hop and Black Romance
Romance and Other Themes
Exercise 1
Exercise 2
Chapter Five Reference Sources
Chapter Six Stars and Controversies
Stars and Directors Matter
Hip Hop Artists and Actors
Controversies/End of the Ebook
Chapter Six Reference Sources
Dr. Sanchez is primarily interested in racial representations in the media and in the study of African American history and culture. She worked for a number of years as an editor, broadcast journalist and as a media information specialist. She is also the first president of the Tucson Chapter Afro-American Historical and Genealogical Society (founded by Gloria Smith), an active member of the Tucson Black Film Club and is a member of the Womens Progressive and Civic Club. She has served as a State President of the National Association of Colored Women’s Clubs. Dr. Sanchez has a doctorate in Comparative Cultural and Literary studies; her masters degree focused on visual culture/art history while her undergraduate studies included Radio and Television.
She has lectured in Tucson and other cities on Black history, racial representations in film, and on African American family history and genealogy. Her wide-ranging background in broadcast and written journalism as well as in public affairs has included overseas assignments in the U.S. Army and a stint in the Arizona National Guard. Her academic writings have been published in two anthologies; she has created political videos and has written and edited books and newsletters for community based associations. In addition to classes in Africana Studies, Dr. Sanchez has also taught art history and art appreciation courses.
She believes, “It is especially important for people to be educated in Africana studies subjects because our everyday lives are heavily influenced by racism and the impact of centuries of colonialism. However, many people are not exposed to the insightful types of analysis that comes from the view point of the subjugated. Some students believe learning about race and the history of it in America perpetuates racism. I sometimes hear them say ‘if you just don’t talk about it, it will go away’ or they say discussing racial history creates racism and bad feelings. But if racial problems and their origins are simply ignored, long-standing continuing oppression will persist. Many will continue to perceive ordinary, everyday discriminatory practices as normal, not realizing how they affect others. They won't understand the impact on our collective lives or how we can all, regardless of race, participate in something that is oppressive or liberating. The disparity in wealth among races is just one of many statistics clearly indicating something is clearly out of balance! We need black theoretical perspectives and a more complete history factored into our learning.
She adds, "How can anyone critically assess what is happening today in our society and find solutions with only a portion of the picture?”