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- W4224256781 abstract "Chapter 2 considers how Julie Dash’s <italic>Illusions</italic> (1982), Cheryl Dunye’s <italic>The Watermelon Woman</italic> (1996), and Spike Lee’s <italic>Bamboozled</italic> (2000) intervene in conventional, oversimplified accounts of mainstream American film history through Black film quotational authorship. Dash and Dunye <italic>create</italic> quotations, shooting footage that masquerades as “indexical” Hollywood creation, to prove the need for invention in an industry based on exclusion, excision, and marginalization of the racial and gendered Other. Lee responds to the same stereotype-ridden classical canon differently. Rather than inventing in the absences, <italic>Bamboozled</italic> collects blackface minstrelsy artifacts, re-animates blackface performance, and demonstrates stereotype’s toxic power, as his satire film turns to horror. All three filmmakers operationalize what bell hooks calls “the oppositional gaze” in film quotation, to rethink not only Hollywood past and present, but also Black film authorship through their emphatic “writing” with quotation." @default.
- W4224256781 created "2022-04-26" @default.
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- W4224256781 date "2022-03-31" @default.
- W4224256781 modified "2023-10-18" @default.
- W4224256781 title "Film Quotation and the Oppositional Gaze" @default.
- W4224256781 doi "https://doi.org/10.1093/oso/9780197558171.003.0003" @default.
- W4224256781 hasPublicationYear "2022" @default.
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