Overview

For the past century African American cinema has primarily been an independent phenomenon. However, recent and consistent inclusion in the mainstream film industry of Hollywood suggests a significant change in its status. Despite a tendency to posit the genre as other it is not a separate cinema. Contemporary African American cinema contextualizes its forms and themes within the American film tradition. With crossover success and critical acclaim, it became clear by 1991 that profit would be a motive for expansion, and that these films had established profound connections not only with Black audiences and agendas but within a diverse mainstream audience as well. Contemporary African American cinema continues to sustain itself while informing, mediating, challenging, and entertaining American audiences.

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9780820455174

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Reviews

Sheril D. Antonio's excellent, comprehensive study discusses the key films that in various ways, from genere to aesthetics and politics, define 'the new black film wave' at its high moment of produciton. 'Contemporary African American Cinema' get intothe issues, drawing lucid connctions between the African American 'hood-homeboyaction' flick and its ancestor, the American gangster films; sharply exploring intersections of gender, race, and representationin commercial cinema. From moviegoer to scholar, this book is 'must read' for all wanting to understand, and enjoy, contemporary African American cinema.

Sheril D. Antonio's excellent, comprehensive study discusses the key films that in various ways, from genre to aesthetics and politics, define 'the new black film wave' at its high moment of production. 'Contemporary African American Cinema' gets into the issues, drawing lucid connections between the African American 'hood-homeboy-action' flick and its ancestor, the American gangster film; sharply exploring intersections of gender, race, and representation in commercial cinema. From moviegoer to scholar, this book is a 'must read' for all wanting to understand, and enjoy, contemporary African American cinema. (Ed Guerrero, Associate Professor of Cinema Studies, Tisch School of the Arts, New York University)

Author Information

The Author: Sheril D. Antonio is Associate Dean for Film, Television, and New Media at New York University's Tisch School of the Arts. She received her Ph.D. in cinema studies from New York University. Dr. Antonio is also a lecturer and teacher of film criticism and theory.

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