Traumatisme, vulnérabilité et masculinité dans La 25e heure de Spike Lee

This chapter draws upon iconography, film studies, and semiotics in two examples of electronically mediated masking that intentionally subvert the voyeuristic white gaze. It investigates the descriptions of Lindy Hop in The Autobiography of Malcolm X (1966) and the blackface in Spike Lee’s Bamboozled (2000), which intentionally juxtapose explicitly racist caricature and performative virtuosity, reading those passages for their cultural/political subtextual discussions. It argues that Malcolm X and Spike Lee--as cultural commentators from within the African American community--use dance as a means to problematize the paradox of black creativity’s virtuosity as it has flourished “behind the minstrel mask.”

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Black Voices from Spike Lee to Rap

Media Culture ◽

10.4324/9780203205808-15 ◽

2003 ◽

pp. 167-207

Keyword(s):

Spike Lee ◽

Black Voices

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“But Compared to What?”: Reading Realism, Representation, and Essentialism in School Daze, Do the Right Thing, and the Spike Lee Discourse

Representing Black Men ◽

10.4324/9781315865942-18 ◽

2014 ◽

pp. 189-220

Keyword(s):

Spike Lee ◽

The Right ◽

Do The Right Thing

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It’s gotta be the shoes: Nike in the Spike-o-sphere

10.3366/edinburgh/9781474451406.003.0018 ◽

2021 ◽

pp. 229-247

Author(s):

Jeff Scheible

Keyword(s):

Black Community ◽

American Culture ◽

Dominant Mode ◽

Police Brutality ◽

Spike Lee ◽

Professional Career ◽

The Us ◽

Insight Into ◽

Distinct Idea ◽

Mode Of Production

This chapter traces the history and significance of Nike shoes within the auteurist mediascape that Spike Lee has cultivated for over three decades. Lee has steadily created his own dynamic, paracinematic universe that both parallels the logic of Hollywood’s dominant mode of production and resists some of its core tenets by retaining at its centre the distinct idea of the auteur—precisely what transmedial storytelling and postmodern textuality are often viewed to have obliterated. The chapter focuses on the beginning of Lee’s professional career in the 1980s and its current moment, noting the strong affinities between these moments both in American culture and in Lee’s work, which are intimately bound up with one another. Examining Lee’s career in this way provides insight into Lee’s engagement with the problem of police brutality and the enduring injustices faced by the black community in the US.

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