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• W204349364 abstract "Since its debut at the San Francisco Film Festival in March 1986, Spike Lee's She's Gotta Have has become a much extolled reference point from which mainstream film critics evaluate progress in Hollywood's proffered images of women. Crediting Lee's film with inaugurating a new wave of increasingly radical and innovative depictions of female sexuality in cinema, Caryn James writes in a recent New York Times article: Darling, the sexually voracious heroine of She's Gotta Have It, who unapologetically juggles three men at once, is no longer quite so daring (James 2006). While She's Gotta Have received mostly favorable reviews in mainstream media, feminist reception of Lee's film was decidedly unfavorable. In a review, first published shortly after the film's theatrical release, bell hooks, the black feminist film critic, writes, It is not progressive, nor does it break away from the traditional portrayal of female sexuality in film. She's Gotta Have can take its place alongside a growing body of contemporary films that claim to tell women's stories while privileging male narratives, films that stimulate audiences with versions of female sexuality that are not really new or different (hooks 1996, 231). The disparity between mainstream and feminist receptions of Lee's film should not be surprising; feminist criticism generally assails male-directed films for their thematic and formal devaluation of female characters, while mainstream criticism largely ignores such critiques, preferring to emphasize the increase in the number of films that present actresses in leading roles. In short, the latter stresses representational politics in the film industry whereas the former stresses the politics of representation on the film screen. As part of the film industry's current marketing strategy of recycling popular films from past decades, the celebration of the twentieth anniversary of She's Gotta Have in mainstream media overlooked feminist criticism of Lee's film, except where it served to spark curiosity and thus unintentionally contributed to the film's commercial success. This oversight invites renewed consideration of the film's politics of representation. In this essay, I will argue that Spike Lee's She's Gotta Have is a relic of the liberal modernist imagination and therefore promotes a theory of the subject as knowing, self-determining, and absolute. Specifically, the film's critique of the double standard imposed on sexually assertive black women entails female sexual agency to stereotypical male sexuality and thereby forecloses the alternative political possibilities of female desire with respect to its availability as a libidinal resource for collective endeavor and communal solidarity. I also want to argue that the film's apparent thematic concern with emancipated black female sexuality is merely a pretext. Even though Lee's film merits praise for its contribution to redressing the underrepresentation of black female protagonists in film, its foundational subtext erroneously designates the black woman's struggle for sexual freedom as the source rather than the result of antagonism in a divided black community. Thus, the film's ostensible task of presenting multiple points of view on the question of its female protagonist's guilt, of her culpability in instigating a rivalry between her black male lovers that culminates with her being raped, amounts to a false premise, allowing Lee's film to oedipalize sociohistorical conflict in the guise of a romantic comedy gone tragically wrong. Modeled on the modern girl, who first appeared as a figure in the urban cultural landscape during the early to mid-twentieth century, Nola Darling, the black female protagonist of Lee's She's Gotta Have It, seems to lead an independent life of sexual freedom. Yet, as feminist scholarship on the global phenomenon of the modern girl has pointed out, the glamorous, individualistic, and carefree figure of the flapper in New York City, la garconne in Paris, the modeng xiaojie in Shanghai, the moga in Bombay, and die neue Frau in Berlin was at odds with the independent woman's real conditions of life, especially her engagement in the labor movement; in founding cooperative institutions for the sharing of scarce material resources such as food, clothing, and shelter; and in other collective struggles that addressed the hardships of modern life in the big city (Barlow et al. …" @default.
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• W204349364 date "2007-04-01" @default.
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• W204349364 title "Happy Birthday, Nola Darling! an Essay Commemorating the Twentieth Anniversary of Spike Lee's She's Gotta Have It" @default.
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