black film
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2021 ◽  
Vol 937 (2) ◽  
pp. 022129
S Kh Isaev ◽  
Z Z Kodirov ◽  
M K Saylikhanova ◽  
Sh G Fozilov

Abstract In this article, under the conditions of alluvial soils of the Bukhara region, the main yield in the care of mid-ripening varieties of soy “Nafis” and late-ripening varieties of “Uzbek-6” is 4 times., With 714 m3./ha once before flowering, 739-763 m3/ha 3 times from flowering to the end of the application period, 3016 m3/ha with seasonal irrigation, 35,1737.8 with black film irrigation on wheat c/ha of soybean crops, 6 116 000 soums - 7 million soums Net profit amounted to 196 thousand soums, profitability increased by 77.2-90.8%.

2021 ◽  
pp. 765-776
Kara Keeling

This chapter considers the ways in which Black film enlists the past when engaging in present struggles. It demonstrates how Rodney Evans’s film Brother to Brother (2004) redresses the elision of queer history from accounts of the Harlem Renaissance. Through a close reading of the film’s spatial metaphors, sound design, and visual form, the chapter shows how realism and the disruption of habituation exist side by side as mechanisms for new visions of Black queer life. It concludes that Evans harnesses the power of sound and image to remake history and to account for Black queer desire and erotic life.

Animation ◽  
2021 ◽  
Vol 16 (3) ◽  
pp. 126-140
A. Joseph Dial

Disney films have a distinct way of always feeling in-time, a sensation the company understands and monetizes. A Goofy Movie (AGM) was released in 1995, and since its theatrical release, the film has continued to capture the hearts and minds of a cult audience of passionate fans. Among this array of fans is a core of Black millenials who hold the film in high regard due to its R&B soundtrack and relatable narrative. However, the moments of Black representation within the film are less interesting than how a Black reading becomes possible. What are the component parts of the film’s making when arranged in such a way that invokes an essential Black lifeworld? AGM affixes Blackness to its form not through any profound representation of race. Rather, considering its animators as technical performers, the dark history behind the American cartoon, and how Black music is used to not just make Blackness known but believable instantiate what Michael Gillespie terms, ‘film Blackness’ in Film Blackness: American Cinema and the Idea of Black Film (2016).

2021 ◽  
Vol 17 (2) ◽  
Nkosinathi Selekane

Television films in South Africa such as the series Lokshin Bioskop and eKasi: Our Stories represent the township space as fabulous and rife with economic opportunity. This is in contrast to the representations that are often depicted by mainstream film, in which the township space is portrayed as manifest with crime, unemployment and decay as in the case of Hijack Stories, Wooden Camera and Tsotsi. This study demonstrates the way in which neoliberal and nation-building archetypes are central in the creation of a ghetto fabulous representation of blackness and the township space. The study employs a close textual analysis of Taxi Cheeseboy and Maid for Me. It is informed by the “ghetto fabulous genre of black film” by Mukherjee in its reading of these new forms of grassroots expression. Moreover, the study delves into the representation of a post-apartheid township amidst the economic and social woes faced by the majority of its dwellers who are still significantly underprivileged. The selected films represent the township exclusively from its quasi-suburban areas which promulgate a picture of a township that has not been neglected by gentrification in post-1994 South Africa.

2021 ◽  
Thomas Cripps

2021 ◽  
Vol 261 ◽  
pp. 108026
Gang He ◽  
Zhaohui Wang ◽  
Xiaoli Hui ◽  
Tingmiao Huang ◽  
Laichao Luo

Sociology ◽  
2021 ◽  
pp. 003803852098579
Clive James Nwonka

The racial unrests permeating across Britain in the late 1970s resulted in a set of political agendas responding to racism to be brought into being though legislation, culminating in the passing of the 1976 Race Relations Act. Crucial to such agendas were strategies for the prevention of black urban uprisings against state authority and the politicisation of black youths against racism. The emergence of politicised black British film during the late 1970s offered a crucial counter-hegemonic exploration and re-enactment of an extra-filmic reality of police violence and popular racism within the British body social. However, these texts were subjected to forms of political censorship through a number of state organisations who identified radical black cinema as a political threat with the potential to incite violent responses from black youths. This article will offer a detailed analysis of Babylon (1980) and seeks to investigate the ideological processes leading to its X certification and the moral panic located in its representations of black youths within the crisis of race vis-a-vis the political, social and cultural authority of race relations, situating Babylon’s controversial X certification as an exemplar of the ‘applicational dexterity’ of the race relations discipline.

Agata Frymus

My project (Horizon 2020, 2018–20) traces Black female moviegoing in Harlem during the silent film era. The main challenge in uncovering the women’s stories is that historical paradigm has always prioritised the voices of the white, middle-class elite. In the field of Black film history, criticism expressed by male journalists—such as Lester A. Walton of New York Age—has understandably received the most attention (Everett; Field, Uplift). Black, working-class women are notoriously missing from the archive. How do we navigate historical records, with their own limits and absences? This paper argues for a broader engagement with historic artefacts—memoirs, correspondence and recollections—as necessary to re-centre film historiography towards the marginalised. It points to the ways in which we can learn from the scholars and methods of African American history to “fill in the gaps” in the study of historical spectatorship.

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