Close-Up Proposal Guidelines.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 396, doi. 10.2979/blc.00052
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- Article
Works matching IS 15363155 AND DT 2024 AND VI 16 AND IP 1
Results: 26
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Submission Guidelines.
- Published in:
- Black Camera: The New Series, 2024, v. 16, n. 1, p. 393, doi. 10.2979/blc.00051
- Publication type:
- Article
3
"I'm going to make sure your last few breaths feel like hell": Blaxploitation as a Language for Black Women's Vengeance in Alice.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 147, doi. 10.2979/blc.00035
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- Article
4
FESPACO 2023, Part 4: The Future Stems from the Past.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 378, doi. 10.2979/blc.00049
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5
Editor's Notes.
- Published in:
- Black Camera: The New Series, 2024, v. 16, n. 1, p. 1, doi. 10.2979/blc.00001
- Publication type:
- Article
6
Le droit d'être ordinaire / The Right to Be Ordinary (1967).
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 365, doi. 10.2979/blc.00047
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- Publication type:
- Article
7
Chester Himes, l'invaincu<sup> 1 </sup> / The Undefeated Chester Himes.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 352, doi. 10.2979/blc.00046
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- Publication type:
- Article
8
Professional Notes and Research Resources.
- Published in:
- Black Camera: The New Series, 2024, v. 16, n. 1, p. 385, doi. 10.2979/blc.00050
- Publication type:
- Article
9
"Dreams do come true!": Black Queer Comedy in Rudy Ray Moore's The Human Tornado.
- Published in:
- Black Camera: The New Series, 2024, v. 16, n. 1, p. 122, doi. 10.2979/blc.00034
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- Publication type:
- Article
10
Melvin Van Peebles Bibliography, 1957–1969.
- Published in:
- Black Camera: The New Series, 2024, v. 16, n. 1, p. 373, doi. 10.2979/blc.00048
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- Publication type:
- Article
11
Between Burlesque and Black Horror: An Interview with Producer Jean-Pierre Saire on Melvin Van Peebles's Le Conte du Ventre Plein / Bellyful.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 333, doi. 10.2979/blc.00045
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- Publication type:
- Article
12
"That Was All Melvin!": An Interview with John B. Bennett, Producer of Watermelon Man.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 309, doi. 10.2979/blc.00044
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- Publication type:
- Article
13
"He Felt Like He Could Be His True Self Here": An Interview with Christian Thivat, Producer of La Permission / Story of a Three Day Pass.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 288, doi. 10.2979/blc.00043
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- Publication type:
- Article
14
A Portrait of the Artist as a Young Man: The Correspondence of Melvin Van Peebles with Kermit Eby and June Greenlief.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 264, doi. 10.2979/blc.00042
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- Publication type:
- Article
15
Melvin Van Peebles's Hara-Kiri Tale(s) of Sex and Race.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 249, doi. 10.2979/blc.00041
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- Publication type:
- Article
16
The Cinematic Break: DJ Aesthetics and Political Subjectivity in Melvin Van Peebles.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 226, doi. 10.2979/blc.00040
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- Publication type:
- Article
17
"Support Your Local Pornographer!": Radical Sexual Politics and the Making of Sweet Sweetback's Baadasssss Song!
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 208, doi. 10.2979/blc.00039
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- Article
18
Ain't Supposed to Die a Natural Death: A Theatrical Counterpoint to Sweetback.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 192, doi. 10.2979/blc.00038
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- Article
19
An Introduction.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 181, doi. 10.2979/blc.00037
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- Publication type:
- Article
20
Da Time Is Out of (a Spike Lee) Joint: Haunting Genre as Late Style in Da Sweet Blood of Jesus and Da 5 Bloods.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 162, doi. 10.2979/blc.00036
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- Publication type:
- Article
21
A Noisy Protrusion: Queer Blackness, Practical Effects, and Cinematic Sound in Jamaa Fanaka's Welcome Home Brother Charles.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 93, doi. 10.2979/blc.00033
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- Publication type:
- Article
22
The Afro-Asian Rhetoric of Women's Liberation in Pam Grier's Coffy and Foxy Brown.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 71, doi. 10.2979/blc.00032
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- Publication type:
- Article
23
"You Really Want to Mess with Whitey": The Politics of Form in The Spook Who Sat by the Door.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 46, doi. 10.2979/blc.00031
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- Publication type:
- Article
24
Close-Up: Reclaiming Blaxploitation in the Global Diaspora: Short Eyes and the Convergence of Nuyorican Poetry, Chicago Soul, and American Independent Cinema.
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- Black Camera: The New Series, 2024, v. 16, n. 1, p. 19, doi. 10.2979/blc.00030
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- Publication type:
- Article
25
Close-Up: Reclaiming Blaxploitation in the Global Diaspora: An Introduction.
- Published in:
- Black Camera: The New Series, 2024, v. 16, n. 1, p. 5, doi. 10.2979/blc.00029
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- Publication type:
- Article
26
Sambizanga (1972): Aesthetics and politics in the film of Sarah Maldoror—Black, African, anticolonialist, feminist.
- Published in:
- Black Camera: The New Series, 2024, v. 16, n. 1, p. 3, doi. 10.2979/blc.00028
- Publication type:
- Article